The theatre is packed, and full of anticipation. These artists have something new to say. I have enjoyed many ballet performances in my time, but I have never seen anything like this. Nevertheless, this double bill from Ballet Black is rooted in tradition. It is also technically excellent.
This feels brand new, always ballet but with influences from other dance styles, and a dynamic soundtrack that recognises the modern and the classical. Throughout the double bill, the intention of the performers is expressed with a powerful intensity. I am always inspired by the ability of dance, and dancers, to cut through the busyness of words, and get to the guts of a story.
If At First, choreographed by Sophie Laplane, is a meditation on power, which is represented by a crown. Initially one dancer, the wonderful Isabela Coracy, explores gracefully, encircled by other dancers. Then she is crowned. Instantly, Eden is over and the soothing music becomes a frantic drumbeat. Dancers do battle as an ensemble, each briefly holding the crown before another snatches it.
I enjoyed the contrast between the interludes of frenzied fighting, and the varied scenes where the holders of power reign. Sometimes the crown is wielded in triumph, but often, it is a harbinger of sorrow. The transitions between the two types of scene, with changing musical styles, pace, and physicality, are striking and exciting. I had the good fortune to sit next to a trained dancer, who told me that the dancers were using more classical movements when they were striving for the crown, and had a less structured physicality when they possessed it. Power doesn’t play by the rules. There is a rhythm between the two moods, but also a chaos that keeps us guessing.
I loved the poetic, sensual duet between two female dancers, to the extraordinary song “I’ll Be Your Woman” by Michelle Gurevich. The quiet strength of the characters shone brightly, and this was the part where I felt the title concept of heroism most profoundly.
The music is eclectic, featuring Beethoven-inspired pieces as well as more modern styles. The set, and the lighting, are simple, but the ensemble dancers sometimes hold mirrors, bathing each other in light, and providing an additional dynamic element to the piece.
After the interval, the second piece: The Waiting Game, choreographed by Mthuthuzeli November. There is one big prop for this piece – a door, through which a shadow can be seen. The door is wheeled around the stage, and dancers pass through it.
This one does use words. There is a voiceover, stream-of-consciousness style, which touches on anxiety, and the day-to-day realities of life. There are machine-like movements from the ensemble, which make me think of the mundane routine of the workplace. These are contrasted with graceful, flowing movements in the foreground.
“Much, much later” – there is a sign printed with these words – a rail of costumes is wheeled on. Dancers are preparing to perform, but one character (Ebony Thomas), is in crisis. His colleague encourages him to “take it two minutes at a time” and finally, he leads a joyful jazz-inspired dance with the smiling ensemble. The sequined jackets dazzle with reflected light, continuing the theme that began with the mirrors in the first piece.
Throughout, the skill of the performers is remarkable. The connection between the dancers is impeccable and it seems as though they work together effortlessly. The movements are strong and defined.
Representation matters, and the audience is more diverse than is typical for ballet. It is a powerful experience to see these remarkable Black and Asian performers breathing new life into our theatre culture and, surely, inspiring the next generation of artists.
Reviewer: Wendy McEwan
Reviewed: 18th June 2024
North West End UK Rating: