Interludes

VIEWPOINTS – Propelling drama through movement: Luke Murphy’s SCORCHED EARTH at St. Ann’s Warehouse and YOAH at New Victory

• By drediman
• April 10, 2026
• No Comments

When it comes to theater, many of us often times underestimate how integral of a role movement can play in conveying story and character. In two shows I recently caught in the midst of this busy April of openings, choreography was featured front and center, a potent reminder of dance’s ability to propel and convey drama. As always, read on for my thoughts.

SCORCHED EARTH
St. Ann’s Warehouse
Through April 19

Earlier this week, I had the chance to to attend Luke Murphy‘s Scorched Earth (RECOMMENDED), a new dance theater piece with strong Lynchian vibes, in which a detective reopens an unresolved homicide case to uncover old but persevering emotions lingering in the shadows of the human soul. Inspired by John B. Keane’s 1965 Irish play The Field, the case centers around a land dispute incident between a financially-strapped resident of a remote Irish town and an outside real estate investor that leads to a murder and its subsequent cover-up. Over the course of 90 minutes, Murphy (who wrote, directed, choreographed, and stars in the production) sustains a menacing and mysterious mood, thanks in large part to his design team — particularly Alyson Cummins’ ingenious sets and costumes, as well as Stephen Dodd’s lighting — whose work here collectively captures the unique atmosphere of immersive Punchdrunk shows like Sleep No More in a bottle. And although Rob Moloney’s original composition and sound design can come across as a bit too generically on the nose, it lends a “true crime” drama essence to the proceedings that is completely appropriate to the show’s premise. The production even unfolds in fragmented scenes that suggest the gathering of evidence. Throughout, the choreography is coiled and organic, culminating in an athletic ensemble scene (no spoilers here!) that artfully gets to the restless, unsettled heart of the work. Although you can spot the punchline a mile away, Murphy’s ability to evoke the very fabric of memory, fraught psychological states (e.g., frustration, resentment), and the sensuousness of the earth beneath our feet through movement is compelling enough on its own. Although not quite as audacious and memorable as Volcano (which the director/choreographer/performer also brought to St. Ann’s Warehouse in early 2024 as part of Under the Radar), Scorched Earth is nonetheless vintage Murphy, performed with precision and unity of vision.

YOAH
New Victory Theater
Through April 19

Over at the family-friendly New Victory Theater on 42nd Street, you’ll find Fukuoka, Japan-based Cirquework and Cluster Arts Global’s Yoah (RECOMMENDED), a piece of cirque theater that’s been entertaining and dazzling families around the world. I’ve seen dozens of cirque-type shows over the years, and it takes vision to make one stand out against the lot of them. I’m happy to report that Yoah is one such production. From the get go, the audience is plummeted immediately into the mysterious and fantastical world of the show. In short, the wordless piece tells the coming-of-age story of a young woman named Yoah, who encounters a group of Shinto spirits who challenge her to grow into one of their own. A true melding of cirque acts, dance, music, and visual effects, the resulting experience is a seamlessly integrated piece of theatrical storytelling. Even the interactive “clown” interlude — there’s just one of them, mercifully — serves a narrative purpose. Particularly functioning as the glue that holds the show together is Naoki Inui and Yuuka Nakashima’s graceful yet intentional choreography — artfully bathed in both light and shadows — which flows beautifully into and out of each of the key acts of the 70-minute show, many of which you’ve likely seen before (e.g., silk ropes, the trapeze, juggling, chair stacking, and lots of glowing diabolos) but performed and uncommon finesse and refreshingly within the context of a thoughtfully constructed narrative. Also worth pointing out are the elaborate video projections that elevate the already impressive proceedings to awe-inspiring spectacle, as well as the thrilling soundtrack comprised of both contemporary electronic music and traditional Japanese drumming. These contribute to the immersive nature of the production, one that seeks to mesmerize rather than hit you over the head. Judging from the enraptured response of both children and adults in the audience, I’d say that Yoah has accomplished what it set out to do.