Review: Il danno – former La Scala dancers in a chilling, cinematic take on Damage

Choreographer Susanna Beltrami, co-artistic director of Milan’s DANCEHAUSpiù, has unveiled a compelling dance theatre adaptation of Josephine Hart’s novel Damage. Titled Il danno – Anatomia di una caduta, this production revisits the story made iconic by Louis Malle’s 1992 film, presenting it through a fusion of movement, cinema, and evocative projections.

The narrative explores the destructive consequences of a clandestine affair between Stephen, a respected politician, and Anna, the intended bride of Stephen’s son, Martyn. The story culminates in Martyn’s tragic death, an event that shatters the family and the characters’ lives. This psychological drama is reimagined on stage by former La Scala soloists: Emanuela Montanari as Anna, Antonino Sutera as Stephen, and Nicolò Brizzi as Martyn.

Montanari’s portrayal is particularly striking, offering an intimate, vulnerable, and multifaceted interpretation of Anna. Known for her nuanced performances in classical ballets at La Scala, Montanari transitions from the grand scale of the opera house to the immediacy of the stage’s close quarters, delivering a performance marked by emotional depth and physical openness. Sutera, recognized for his previous principal roles, brings gravitas and intensity to Stephen, while Brizzi’s recent training in hip hop injects fresh dynamism into the portrayal of Martyn.

The production’s visual language borrows extensively from cinema. Salvatore Lazzaro’s filmic close-ups of the dancers are projected onto a large black gauze curtain, creating a layered viewing experience that blurs the boundary between live performance and recorded imagery. These projections, combined with atmospheric video elements such as cloudscapes and underwater imagery, envelop the dancers and intensify the emotional landscape of the piece.

The choreography itself is an eclectic blend, ranging from contemporary dance and classical ballet on pointe to tango and even gymnastic movements. This variety reflects the complexity of the characters’ emotional states and relationships. The ballet barre serves a dual function as both a spatial boundary and a symbolic prop, framing the psychological tension that unfolds.

Il danno unfolds largely through flashbacks narrated from Stephen’s perspective, with Martyn’s ghostly presence underscored by deathly makeup and haunting movement motifs. The production opens with a solitary Stephen poised at the barre, setting a tone of isolation and foreboding that permeates the entire performance.

The thematic focus emphasizes the enduring impact of personal trauma and forbidden desire. Anna’s backstory includes a harrowing revelation of an incestuous relationship and its devastating aftermath, which informs her complex character. Throughout the performance, projected lines from Hart’s original text punctuate the narrative, reinforcing the psychological undercurrents, notably the assertion about the resilience and danger of damaged individuals.

The lighting and musical score, assembled by Matteo Bittante, further heighten the atmospheric intensity. The soundscape traverses diverse musical styles, complementing the shifting moods without overwhelming the choreography’s subtlety. Beltrami’s direction is mindful of pacing and theatricality, though some solos are noted to extend beyond their optimal length, slightly disrupting the narrative flow.

A striking visual metaphor involves a lifeless mannequin integrated into the stage design. Its eventual manipulation to mimic Martyn’s fatal fall is a chilling moment that encapsulates the production’s fusion of symbolic imagery and emotive storytelling.

With a runtime just over an hour, Il danno leaves a lingering impression, distilling the novel’s exploration of guilt, desire, and memory into evocative physical and visual forms. The production’s seamless blend of dance, film, and theatre demonstrates a sophisticated artistic vision that offers fresh insight into a well-known narrative. According to gramilano.com, this work exemplifies contemporary dance theatre’s potential to engage audiences with complex psychological drama, deserving wider recognition and extended touring opportunities.

While precise details about the production’s wider tour plans remain limited, the collaboration of former La Scala artists and innovative multimedia elements mark Il danno as a distinctive contribution to Milan’s vibrant contemporary dance scene.