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Since, by contrast, Jorma Elo's "Double Evil" left any specific intention unsaid, it seemed to succeed the most readily on its own terms.
"Double Evil" is the third world premiere of his that I've seen in the last six months, each in a different city.
Right up there at City Center, with "Fusion" and "Double Evil," pieces so bad they made you want to cry, were beautiful ballets by Morris and Wheeldon.
"Double Evil" has (as did "In on Blue," his last piece for Boston Ballet) women in tutus who spend much of the time on flat foot, legs turned in, bending their upper bodies and looking at sea.
On the City Center schedule was the Finnish choreographer Jorma Elo's well-named "Double Evil," a piece whose sole purpose, I believe, was to humiliate its women — they were dragged around with their butts in our faces — and thus, apparently, to show Elo's high-minded indifference to ballet decorum.
Some highlights include Christopher Wheeldon's sensual new work "Within the Golden Hour," Mark Morris's playful and percussive "Joyride" (with fabulous futuristic costumes by Isaac Mizrahi), and, for fans of the Finnish choreographer Jorma Elo, "Double Evil," his latest quirky, propulsive ballet, set to a Philip Glass score.
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But what many remember most is an extraordinary sequence in which the woman who pulls the scales from Freder's eyes – Maria Brigitte Helmm), a good-hearted workers' rights agitator – is kidnapped and replaced with a sinister, violence-inciting robot double by evil scientist Rotwang, at Freder's father's command.
Evil, evil, evil.
Spectral doubles — an evil twin, a shadow walker — are present in ancient Egyptian and Norse mythologies.
Welcome back to Dallas (Wednesday, 9pm, Channel 5), where even the cook's daughter carries a £400 Mulberry bag and the only non-white residents are either double-crossing evil villains with comedy accents or are referred to as "the help".
Still, every "Swan Lake" needs a swan queen (Odette) and her evil double (Odile).
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