Domy Reiter-Soffer

“Medea” danced by the Irish National Ballet at the opera house last night correlated with modernity, reflecting the Reiter-Soffer's Yerma, is magnificently conceived and excuted. It was well received by the audience and it is the type of work one is entitled one to expect from a national ballet company. It extends the dancers and reveal the public what the medium is all about and how it should be, reflecting the human condition. Medea is betrayed by Jason, which is the basis of the tale. It is about jealousy and revenge and subsequently murder, which is still re-enacted daily throughout the world. Clothed in modern dress, the protagonists in this Medea are no less prototypes of the Greek tragedy than they are of the contemporary malaise: a revolver is fired on stage, the press is on the scene, floodlights penetrate the poisoned heart of Medea, the forces of fate, in white in black costumes carry on differently. King Creon offers his daughter Glauce to Jason in a pram (Daddy's Girl) smoking cigar in a bookies' suit and bowler hat; atmospherically merging myth and reality. The entire piece ripples with static enhanced by the compelling Rhythms of Alberto Ginastera's Music.
In the title role is Anna Donovan, who danced a compelling performance in the way architected the part from heartbreak and pathos to the eventual frenzy of the woman scorned, to the unleashing of an ultimate passion mingling with hate and love in her terrible revenge. Here is more discipline of technique- though that is there in full measure- but, also, a command of feeling, its light and shade, giving flesh and blood to the ancient myth. The other roles are magnificently molded and blended into a whole, so unity is created and sustained throughout. It justified the evening for me and I left happier than would otherwise have been the case. This is a Medea is for now and it will stay in the minds of those who have witnessed the extraordinary performance for a long time.
(Robert O”Donoghue- The Irish Times).

“The outstanding ballet on the programme is the Artistic Advisor's Domy Reiter-Soffer's “Medea” it is different in style and mood here Reiter-Soffer has the characters wearing modern dress of the thirties, and treats king Creon in a satirical way. The protagonist in Medea is Kathleen Smith who danced the role with passion and creating an immediate atmosphere of doom to come. This is no ordinary ballet it has all the ingrediance of a Greek myth and the technical demands of a tragedy. The music by the Argentinean composer Alberto Ginastera is used with skill and imagination so it supports the action of the ballet.
( Fernau Hall- Daily Telegraph).

“The most important work of the evening was Domy Reiter-Soffer's “Medea” a retelling in modern dress and in the most original and surprising manner, the legendary story of the jealous woman who took a terrible revenge on her husband and her children. This brilliant choreographer has again devised a powerful, gripping ballet, danced with nerve tingling intensity by Kathleen Smith in the title role, by Anna Donovan as her rival and Roger Wade as her husband Jason. The performance was riveting and dramatic that brought the audience to the edge of their seat. The music is by Alberto Ginastera, which was most effectively used.
(John Finegan- The Evening Herald).

“It is seldom that one can encompass such a theatrical experience with so much passion and tragedy, yet go out of the theatre completely absorbed in thought provoking moments of total satisfaction. This was in Domy Reiter-Soffer's Latest creation of Modern “Medea” set on a bare stage, and provides Kathleen Smith with a grande Guignol role on a gigantic scale matched by the music of Alberto Ginastera. As Medea entangles the reluctant Jason in a passionate pas de Deux, and is rejected by him while their children contrast and mirror their parents in gentle and violent play; Jason is drawn more and more to innocent child like Glauce, wheeled out by her showman father, King Creon, and then is forced to watch her agonizing death, burnt by the poisoned threads woven by the jealous Medea, who then, in insane jealousy, murders her own children. Meanwhile, the forces of destiny stalk the stage like a science fiction version black-garbed stage managers of the Japanese theatre, always on hand bearing the props of death. The not to be missed experience, is marvelously danced and acted by Anna Donovan, Roger Wade, and the rest of the cast, as well as Kathleen Smith, unforgettable as Medea.
(Carolyn Swift- The Irish Times).

“The Irish National Ballet at the Abbey Theatre presented “Medea” choreographed by the company's Artistic Advisor Domy Reiter-Soffer, Music by Alberto Ginastera. The highly dramatic modern in style Medea is the highlight of the evening. The star of the night is undoubtly Kathleen Smith in the title role. It is a role of jealousy madness and murder. Smith precision, smooth acting and suppleness create a dance expression of dramatic coup that is rarely seen in theatre. A choreography that gives a wonderful vehicle to the dancers and passion to the performers, and what passion”.
(Lindi Naughton-The Irish Herald).

‘There is no more Dramatic Ballerinas than Kathleen Smith, a consummate actress that expresses the whole range of human emotion. She proved again in last night at the Abbey Theatre with another spellbinding ballet choreographed by Domy Reiter-Soffer's Medea for the Irish National Ballet. Medea proved to be another riveting piece of total theatre, performed on a stark Abbey stage bereft of flats and with only a chair and a couple of moving spotlights for settings.
It is intensely Dramatic and there are compelling moments of tension as Ms Smith struggles to retain her faithless husband Jason, (Roger Wade) a five star performance- while their children Jonathan Barnett and Victoria lee provide an innocent counterpoint to their struggle. Wade and Anna Donovan who is superb as princess Glauce, Jason's child bride, have a marvelously romantic pas de deux clouded by suggestion of its impending grisly consequences and doom. It is a clever creation of a Greek mythological subject and the result is astounding”.
(Graham Sennett-The Evening Press).

“Domy Reiter-Soffer's world premiere of “Medea” is totally compelling. A modern version of the Greek tragedy it highlights infanticide and makes the point clearly that the Medea syndrome has and will exist, throughout the ages.
In this work the choreographer has fashioned his own choreographical language and theatricality that we have come to admire and expect from him. Kathleen Smith dances a tangibly tragic Medea to Roger Wade's Jason her Faithless husband and Anna Donovan's splendid princess Glauce. Set to a bare stage with banks of moving lights, black back-drop, it is horrifying by its stark reality, yet never loses the spider thread by which it keeps in touch with the legend. Dominated by the basic emotions of hate and jealousy, it climaxes towards horrific ending in which Medea murders the very people she loves while the media press and photographers take pictures of the happening. The impact of this ballet is both exciting and physical, the technique and the dancing characterization is sensational it was a pure theatre at its best.
(Patricia O'Reilly- The Irish Press).