Domy Reiter-Soffer

“The Irish National Ballet's sold out season at the Abbey Theatre Dublin make an impressive start were it not for the remarkable high standard of some of their production. It has provided a platform for the choreographer Domy Reiter-Soffer, following the success of his potent interpretation of Lorca's Yerma last year, now Reiter-Soffer has staged another dance drama, Chariots of Fire based on the Phaedra Legend. With an incisive sense of theatre and subtle merging of different techniques and a definite style of his own, he has come up with a new creation that will enhance the Irish National Ballet Reputation, not to speak of his own. The choreographer cobbled together scores from three major Greek composers of this century- Christou, Mamangakis and Xenakis- the result a seamless and quite shattering in its evocation of blood-soaked tragedy. Once again Kathleen Smith dances the central role of Phaedra and again she gives a deeply felt portrait of tormented womanhood. Her fine intelligence and powerful technique find a counter part in Richard Collins's anguished Theseus, while Babil Gandara as Hippolytus and Kathleen McInerney as Aricie his fiancée, provide a lyrical contrast to the troubled passion of their elders. This is a powerful Ballet of a great dramatic and extraordinary theatrical coup, and no doubt they are forging a repertory which must bring them to these shores before long”.
(Jan Murray-The Guardian)

“Chariots of Fire choreographed by Domy Reiter-Soffer to a score by three Greek composers is tremendous and shows the company at its best. The eternal quadrangle of Phaedra, Theseus, Hippolytus and Aricie- is caught with extraordinary dramatic scenes of sheer dance theatre par excellence. Kathleen Smith as Phaedra gives a poignant and outstanding performance with a remarkable understanding of the role. Richard Collins brings power full of desperation to his Theseus that is moving and passionate. Anna Donovan as Oenone, Phaedra's nurse danced with sensitivity and expertise. There are not enough superlatives to describe this major work of great choreographical feats and exciting scenes of love jealousy and murder. Chariots of Fire is truly magnificent and is well worth its place in the repertory of any first class ballet company in the world today.
(Seamus Kelly- The Irish Times)

“Reiter-Soffer's version of the Phaedra myth, “Chariots of Fire” to music by Christou, Mamangakis and Xenakis, is the meat of the evening: a full blooded work which tells the story succinctly and chillingly. The stage design leave the dancers uncluttered for the powerful confrontations of Theseus (Collins) and Hippolytus, (Gandara) and for the dramatic but also moving seduction pas de deux of Phaedra and Hippolytus. Theseus's powerful solo and the realization of the death of both his wife and son is truly Coup de Theatre. The Corps is extremely well used as chorus, furies and trampling horses of Hippolytus's chariot was outstanding; The ballet is an Irish National Ballet success story”.
(David Dougill- The Sunday Times).

“The Irish National Ballet season at the Abbey Theatre is a triumph. It was a full house standing room only. The premiere of Domy Reiter-Soffer's “Chariots of Fire” was greeted with wild enthusiasm by the distinguished first night audience. This magnificent work, based on the legend of Phaedra, was brilliantly danced by the company. The demanding role of Phaedra danced by Kathleen Smith, was outstanding, her powerful technique and dramatic quality shone throughout the ballet. Richard Collins was superb as Theseus and Babil Gandara showed his versatility in a duet with his beloved Aricie Kathleen Mc Inerney. The ballet is powerful that leaves audience with thought provoking experience of true theatre”.
(Lindie Naughton- The Irish Press).

“Domy Reiter-Soffer's ballet Chariots of Fire based on the Greek Legend of Phaedra, premiered by the Irish National Ballet is a master piece. Powerful Music by Christou, Mamangakis, Xenakis flows through the ballet seamlessly. Kathleen Smith's gives a passionate and superb performance as Phaedra. The Erotic Duet with her stepson Hippolytus (Babil Gandara) was dramatic and extraordinary statement of love and jealousy, despair and eventual death.
Richard Collins as Theseus was powerful in his last solo when realizing the death of his wife and son carrying their bodies to the end of time. No Doubt Chariots of Fire is a ballet of enormous theatre and dance coup for the Irish National Ballet so powerful that left one at the edge of one's seat”.
(Fred Williams- The stage and Television Today).

“Domy Reiter-Soffer has mounted an impressive series of dance dramas celebrating different manifestations of womanhood. Last summer he premiered Yerma, Based on the searing play by Lorca, and this season continued his exploration of women in anguish with Chariots of Fire, an absorbing retelling of Phaedra Legend.
In each of these works the marvelous American Dancer Kathleen Smith took the main role, whose flexible technique smoothly accommodates the highly charged choreographical feats used by the choreographer, while her incisive acting adds further dimensions to subtle, sympathetic characterizations. Reiter-Soffer is equally served by the ensemble's leading men, the tall powerful Richard Collins (Theseus), and the youthful assured footed Babil Gandara as Hippolytus. The Corps contributes a disciplined involvement that adds considerably to the impact of this timeless drama. Reiter-Soffer has put together the music by three Greek composers Christou, Mamangakis and Xenakis and the drawn from a variety of sources of his scenario, from Racine, he has taken the figure of Aricie, fiancée to Hippolytus, thus producing opportunities to contrast their tender, naïve affection with the obsessive lust of Phaedra for her step-son. From Euripides he takes “we are but the playground of the Gods” because the tragedy is divinely inspired to punish King Theseus who, at the end of the ballet, steps back into the void the corpse of a loved one hung over each arm. The starkly imaginative designs incorporate elements of eastern (stiff royal robes which are flown from their bearers to become suspended fans, the reins which drive the fatal chariot are subsequently a hanging noose for Phaedra. Altogether make a cohesive work that demands discipline and a great technical dance technique and making a wonderful piece of theatre”.
(J-Murray- The spectator).

“Chariots of fire” is an electrifying Master piece premiered by The Irish National Ballet and choreographed by the distinguished choreographer Domy Reiter-Soffer who through the years has created a wonderful and important repertoire of ballets to the company. The ancient Greek tragedy of Phaedra is a feat no less audacious than the previous ballets he has created in the past. Sans this language whether of Euripides, Seneca, Racine or Sophocles we are left with theme: a king whose wife is in love with her husband's son, causing a banishment of the son, his death under the wheels of a chariot, thereby driving to suicide the wife, Phaedra, leaving the king to mourn them both in an irrevocable anguish.
Domy Reiter-Soffer has shown himself particularly adept in contemporary dance drama. His work up to now has concerned itself with specifically contemporary human dilemmas; his chariots of fire is his first attempt at a tragic Greek theme and its performance this week by the Irish National Ballet at the Opera house in my opinion, a masterpiece on a huge scale of contemporary art.
The Fateful passion of Phaedra, expressed with great erotic power by Kathleen Smith, is even more compelling than one experiences it from the writers; Also the irrevocable fates is more real in the combined music of the three Greek composers Christou, Mamangakis. Xemakis expressing more than words could describe.
The agony of the betrayed Theseus, in the mocking grip of the furies danced with passion given forth most realistically by Richard Collins is a theatre in the Greek order of tragedy; the son's surrender to Phaedra's blanishments and his guilt, Hippolytus portrayed wonderfully by Babil Gandara gains from not being spoken, the choreography and movement playing on the body such a medley of emotions as are in fact too subtle for speech. Anna Donovan as Phaedra's nurse is the sinister element par excellence, doing the work of the Gods. The Chorus is a key dimension and inevitable to the Greek form. Here it has all of its traditional significance, with the added power that the choreographer is able to compose it integrally into the dance, so it is moving part of the action. No doubt that this ballet deserves all the praises and the applause and the adulations it had received in the opening night”.
(Robert O'Donoghue- The Examiner).

 “Irish National Ballet's principal offering of the evening at the Abbey Theatre is “Chariots of Fire” another strongly dramatic work by Domy Reiter-Soffer whose Yerma in last year's season was outstanding. Using three major Greek composers for his music Reiter-Soffer managed to tell the story of Phaedra economically and dramatically showing a considerable command of dance narrative and another example of how well he knows to build and hold tension. Kathleen Smith in the main role gave a performance of unequal stature. Her sensitive approach and poignant technical dancing brought incredible power to the role and so was Richard Collins's Theseus. The Corps was cleverly used as Greek Chorus, furies and horses driving the chariot that led to eventual death of Hippolytes. Babil Gandara in a moving love scene with Phaedra and later on with Aricie his fiancee made a considerable impact. This ballet no doubt will be performed successfully for many years to come and a coup for the choreographer and for the Irish National Ballet”.
(Desmond MacAvock-Irish Independent).

 “ The performance of “Chariots Of Fire” danced by the Irish National Ballet Last night at the Opera House was emblazoned itself in the minds of the audience. The legend of Phaedra was choreographed by Domy Reiter-Soffer to a seamless and powerful score by three Greek Composers Xenakis, Christou and Mamangakis.
Capturing all the anguish, emotion and despair, which the work requires. Kathleen Smith in the main role was outstanding. Married to Theseus she became infatuated with his son Hippolytus (Babil Gandara) who danced the role with macho sensitivity and was nicely balanced with a duet with his betrothed Aricie (Kathleen MacInerner). The Corps was extraordinarily used with a great effect in telling the story; they were the Greek Chorus, furies and the vehicle to move the dramatic tale to an ingenious fantastic climax”. (Rose Costello- The Irish Independent).
 “Choreographer Domy Reiter-Soffer, whose “Chariots of Fire” for the Irish National Ballet premiered last night at the Abbey Theatre Dublin to a sell out week.
The Ballet is abased on the legend of Phaedra is passionate dramatic and theatrically effective. Kathleen Smith electrified the audience with her dramatic ability and strong technique. Richard Collins As Theseus looked splendid moved extremely well and has undoubted a great stage authority. The choreography is most inventive and moves the action with a constant pace telling the essence of the story without unnecessary dancing or scenes. The corps was cleverly used moving and changing the action throughout. It is indeed a potent piece of work and the audience reacted with great enthusiasm. No doubt this work will enhance the reputation of the Irish Ballet Company”.
(Nicholas Dromgoole- The Sunday Telegraph).

 “The electrifying “Chariots of Fire” choreographed by Domy Reiter-Soffer for the Irish National Ballet at the Abbey Theatre was truly outstanding. The work we observed was stunning with cohesion of choreography, lighting, costumes and décor matches the aspiration of the ballet, with echoes of pasolini's primitive landscapes, the music score by three Greek Composers Christou, Mamangakis and Xenakis is at once a frightening and unnervingly understandable.
The story of this ballet tells of Phaedra's love for her stepson, of their deaths and the agony of the trusting betrayed Theseus. The dancing is tremendous as the theme: the tortuous seduction of Hippolytus by Phaedra when she lures him with her fingertips while pulling back with her body at the moment when the exhausted Theseus is plucked back by the scavenging fingers of the furies are times of inspired choreography fully realized by the performers. This entire ensemble work is of such quality that one is left astounded and satisfied at this wonderful theatrical experience”.
(Mary Elizabeth Burke-Kennedy/ The Stage )

“Any choreographer Tackling the Greek Legend of Phaedra, Hyppolytus and Theseus, needs courage, for he must face up to the challenge of the great dramatists who have tackled this theme in the past.
Domy Reiter-Soffer, creating the ballet “Chariots of Fire” for the Irish National Ballet at the Abbey Theatre Dublin, Had the good sense to study very carefully the varies ways in which Sophocles, Euripides, Seneca and Racine had tackled this theme. Thus he was able to find his own path, drawing mainly on the play by Racine, but also giving extra force to this ending by drawing on the words of Euripides: “We are but a playground of the Gods”.
He was fortunate in having such fine artist as Kathleen Smith to take the role of Phaedra, driven by lust after Hippolytus her stepson performed by such sensitivity by Babil Gandara. The duet between them- with Hippolytus rejecting the passionate advances of phaedra was admirable and extremely well done, given extra impact by the contrast with a proceeding pas de deux, full of innocence, which Hippolytus danced with his betrothed Aricie charmingly danced by Kathleen MacInerney.
The choreographer chose his music well from three contemporary Greek composers, Christou, Mamangakis and Xenakis. At the end Richard Collins expressed well the agony of King Theseus at being confronted with the dead bodies of his wife and his son. Here the idea of Euripides fitted in Neatly with the machinations of the Gods being expressed by the movements of the chorus. In pure dancing Mr. Collins was admirable as Theseus and acted the role powerfully”.
(Fernau Hall- Daily Telegraph).