Bobbi Jene Smith & Or Schraiber: From ‘The Bride!’ to Gandhi’s ‘Satyagraha’
Bobbi Jene Smith and Or Schraiber, the choreographic duo currently riding a wave of critical acclaim, are navigating a fascinating shift in focus: from the intimate, character-driven world of cinema to the grand scale of opera. Their work on Maggie Gyllenhaal’s debut feature, The Bride!, starring Christian Bale and Jessie Buckley, arrives in U.S. Theaters March 6, swiftly followed by the Paris Opéra premiere of Philip Glass’s Satyagraha on April 10. This transition, while seemingly abrupt, speaks to a core tenet of their artistic practice: a willingness to embrace diverse challenges and a belief in the unifying power of movement and storytelling.
From Ballroom Monsters to Gandhi’s “Truth Force”
The leap from The Bride!, a gothic psychological thriller, to Satyagraha, an opera exploring Mahatma Gandhi’s philosophy of nonviolent resistance, might appear jarring. Yet, Smith suggests the connection has been subtly brewing throughout their recent projects. “I feel like Satyagraha has been traveling with us through many different processes,” she explains in a recent interview with Dance Magazine. “It’s like one part of you keeps working all the time on different pieces.” Schraiber emphasizes the extensive preparation required for their first foray into opera, noting the need to deeply understand the historical context of Gandhi, Martin Luther King Jr., and the principles of nonviolent resistance. “It’s extremely relevant for today,” he adds.
Satyagraha, Sanskrit for “truth force,” isn’t a traditional biopic. Instead, as the Paris Opera explains on its website, the opera “interweaves timelines, relating each of its three acts to a key figure linked to Gandhi in order to better understand the genesis of his political thought: Leo Tolstoy, with whom he corresponded; the poet Rabindranath Tagore, who supported him; and Martin Luther King, who was inspired by his principles of non-violence.” The production, directed and choreographed by Smith and Schraiber, aims to present this complex history not as a passive meditation, but as a “call to action.”
A Collaborative Approach to Movement and Character
Smith and Schraiber’s approach to choreography is notably collaborative, and their work on The Bride! exemplified this. The film featured tap virtuoso Michelle Dorrance, a collaboration initiated by Gyllenhaal. Smith recalls a remarkably productive day-and-a-half with Dorrance, resulting in the audition phrase that ultimately made its way into the film’s elaborate ballroom scene. “It was a very productive day and a half of work,” Smith said. “It was right before casting. I had just broken a toe and I couldn’t put weight on one foot. Michelle’s like, “Let’s build the audition phrase.”
Their process prioritizes revealing and supporting the existing physicality of the performers, even those without formal dance training. With Bale and Buckley, they focused on crafting movement that felt authentic to their characters. “We love to work with what is already there,” Smith explains. “Jessie and Christian are such physical actors. So it was more just trying to reveal, and craft something to support what’s already there. And also asking them: You’ve been living with these characters. What would Frank do? What would the Bride do?” Schraiber adds that the key is to allow the work to “solve itself” through movement, fostering a sense of camaraderie and shared creation.
This emphasis on collaboration extends beyond the performers themselves. Smith describes the experience of working with Dorrance as a “jam session,” where ideas were built upon and refined collectively. “It moved me so much, this meeting with Michelle and trying to find a common language between two art forms,” she says. “And how collaboration really can change you.”
Navigating the Challenges of Opera and Directing
Directing Satyagraha marks a new challenge for Smith and Schraiber, requiring them to integrate choreographic, dramaturgical, and musical elements into a cohesive whole. Smith views these roles as “inseparable,” particularly for a piece like Satyagraha. “I feel lucky that we’re able to put on those different hats,” she says. “And that we’ve been given trust to really travel for our vision of this.” The production will feature a cast including Anthony Roth Costanzo, Ilanah Lobel-Torres, and Davóne Tines, with Ingo Metzmacher conducting.
The scale of opera also presents a unique set of logistical and artistic considerations. As Schraiber points out, collaboration, while rewarding, is inherently difficult. “We’re doing it for a living, and it’s the hardest thing,” he admits. “But it’s also the most rewarding.” The duo’s ability to navigate these complexities, while remaining open to new ideas and prioritizing the integrity of the work, will be crucial to the success of their Satyagraha debut.
From Batsheva to the Palais Garnier: A Rising Trajectory
Smith and Schraiber’s journey to the Paris Opéra is rooted in their shared experience at the renowned Batsheva Dance Company. Their subsequent work, including the dance piece Pit, which they created prior to Satyagraha, and their founding of the American Modern Opera Company, has established them as boundary-pushing artists who seamlessly blend different art forms. As noted in a New York Times article, their reimagining of Philip Glass’s work is highly anticipated. Their ability to draw inspiration from diverse sources – from classical ballet to contemporary music – and to collaborate effectively with performers from various backgrounds has become a hallmark of their style.
The couple’s previous collaborations with Glass’s music, including choreography for “Etude No. 8” and “String Quartet No. 5,” demonstrate a deep understanding of his minimalist aesthetic and its potential for emotional resonance. This familiarity, combined with their innovative approach to movement and storytelling, positions them to offer a fresh and compelling interpretation of Satyagraha.
What’s Next for Smith and Schraiber?
Following the premiere of Satyagraha, Smith and Schraiber will likely continue to pursue projects that challenge conventional boundaries and explore the intersection of dance, music, and theater. While specific future engagements haven’t been publicly announced, their demonstrated versatility and commitment to collaboration suggest a continued trajectory of innovative and thought-provoking work. The Paris Opera’s production of Satyagraha, running from April 10th, offers audiences a unique opportunity to witness their artistic vision unfold on a grand scale. You can find more information about the production, including performance dates and ticketing details, on the Paris Opera website. Further details about their work and upcoming projects can be found through Dance Magazine and The New York Times.