Philadelphia Ballet presents An Evening of Horror

Philadelphia Ballet delivered with a double bill exploring the beauty of darkness. Resident choreographer Juliano Nunes’s Valley of Death, a world premiere, accompanied Agnes de Mille’s Fall River Legend (1948), a dance inspired by a real-life double murder in 19th-century Massachusetts.

A Lizzie Borden ballet

Antiheroes and villains are having a moment, and women who kill are especially fascinating. This makes Fall River Legend a terrific choice. The emotive, character-driven dance tells the story of Lizzie Borden, the woman tried for and acquitted of murdering her father and stepmother in 1892. It alters the ending, however, by delivering a guilty verdict. This is another good choice. Like many, de Mille believed Borden was guilty, and the change makes Fall River Legend more satisfying.

Moreover, the dance uses the verdict to establish feelings of dread and powerlessness from the beginning. Fall River Legend begins by delivering the verdict as the protagonist, called the Accused, stands before the gallows in a cinematic moment. The work then unfolds as a series of flashbacks and sense memories. This approach allows the audience to feel empathy for the Accused, for de Mille extends compassion to her along with guilt.

Sydney Dolan captivated in the lead role on opening night. Rising to the challenge of its emotional demands, Dolan maintained her excellent technique. She partnered well with Pau Pujol as the Pastor in a series of duets. The set and scenery evoked the psychological turmoil of Munch and suspense of Hitchcock to echo the Accused’s inner state as she reflected upon her childhood.

As the Accused watches her younger self (wonderfully portrayed by Lucia Erickson), the audience sees the death of her mother (Charlotte Erickson), the hateful stepmother who promptly enters the picture (Gabriela Mesa, a perfect villain), and the harsh father who rejects her (Charles Askegard). Fall River Legend conveys the impression of a suffocating house and the freedom beyond that the young woman trapped inside cannot grasp. In 2025, this remains the stuff of nightmares.

Valley of Death

Nunes’s Valley of Death also featured a female villain. It took the viewer to a world vastly different from Fall River, one rich with velvet, chandeliers, and demons without faces. Drawing inspiration from Giselle and the myth of Orpheus and Eurydice, it portrayed lovers (Zecheng Liang and Jacqueline Callahan) thwarted first by an evildoer (a terrific Thays Golz) and then death.

Costumes and scenery by Youssef Hotait and lighting by Michael Mazzola added visual layers to the sensuous movement. Liang was breathtaking as the hero dragged through death’s valley before love revived him. He writhed in despair and agony, seemingly tortured by Golz’s character and the demons of death.

The plot points I waited for did not arrive, making Valley of Death feel too long for a work that emphasizes atmosphere over storytelling. A plot twist–such as Liang’s character becoming one of the demons, or his beloved saving him by taking his place–would have made for a juicier Evening of Horror. Nevertheless, Valley of Death was sumptuous, sinister, and beautifully danced.

Overall, An Evening of Horror was a resounding treat. This program highlighted the company’s range, and it was especially gratifying to see female dancers sink their teeth into evil roles. I even enjoyed the crowd, with more younger people with cooler hair and outfits than usual at the ballet. I hope they return, and I hope Philadelphia Ballet continues exploring its dark side next spooky season.