Press Archive

Financial Times, 19th March 2018
The major UK ballet squads are all considerably more diverse than they were when Cassa Pancho founded her troupe 17 years ago and the pointe shoe manufacturers have re-thought their idea of “flesh-coloured”, but Ballet Black still has a key role to play: attracting new, atypical audiences and commissioning clever small-scale works (40 so far).
British Theatre Guide, 18th March 2018
You can’t not like this celebration of romantic possibilities with its witty choreography that eventually resolves back into Handelian classicism. The company dance it with style and affection. It’s a treat.
The Reviews Hub, 17th March 2018
It’s time to forget everything you think you know about ballet, put aside any pre-existing notions about form, classical styling and storytelling because Ballet Black are redefining its contemporary relevance.
The Upcoming, 17th March 2018
Ballet Black’s performances are exemplary, truly magnificent and accomplished dance pieces. With enduring, graceful, and passionate dances, this company have proved once again that neither race nor colour has any place in the arts.
Broadway World, 16th March 2018
Pita's interpretation of Shakespeare's Dream is a colourful, engaging and lively work. Its status as a signature within the repertoire is no surprise given the joy it delivers from beginning to end, showcasing the company at their mesmerising best.
Broadway World, 11th November 2017

Red is such a fun piece demonstrating how the company can deliver both light and shade in equal measure as well as nailing the characterisation. Hopefully this will live long in their expanding repertoire.

The Independent, 13th March 2017

Annabelle Lopez Ochoa’s new work Little Red Riding Hood utilises the symbolism of adolescent sexual awakening to create a heroine that resists victimhood and embraces defiance.

DanceTabs, 11th March 2017

In terms of fully delivering on its promise [House of Dreams] is the success of the night and really underlines the classical chops of the company – nothing ropey here.

Plays To See, 7th March 2017

This was an altogether outstanding evening: an admirably varied and testing, showcase for the all-round talents of this remarkable company. The sense of a special occasion was reflected in the buzz among the audience at the end amid a desire for a return visit before long.

The Evening Standard, 6th March 2017

Ballet Black are a rare commodity in the dance world. Not because they’re a ballet company made up exclusively of black and Asian dancers – although that’s inspiring in itself – but because they’re a small-scale chamber ballet company with a mission to commission new work, operating without any of the infrastructure bigger companies take for granted.

The Times, 6th March 2017

Annabelle Lopez Ochoa’s new take on Red Riding Hood is the kind of ambitious one-act storytelling creation that gives Ballet Black its distinctive advantage in the independent dance scene. The piece has a vibrant atmosphere, dynamic choreography, deliciously entertaining music, standout performances and a sense of dark fun. And it’s almost a runaway success.

Financial Times, 6th March 2017

Pancho’s company takes classical dance to a new, diverse audience in places not visited by the larger troupes (Worthing, anyone?) and routinely commissions new work.

Londondance.com, 6th March 2017

…when she encounters the Wolf – a strutting, wiggling, undulating seduction machine, played superbly by Mthuthuzeli November, whose excessively long rope tail is put to all manner of use.

The Stage, 6th March 2017

Mthuthuzeli November is perfect as the slinky seducer, while Cira Robinson’s Riding Hood journeys from bewildered naivety, knee-trembling sensual surrender to a final act of bold defiance.

The Guardian, 5th March 2017

Little Red Riding Hood is a riot of a dance…This eclectic triple bill draws inspiration from Debussy and Shostakovich before concluding with a funny, gutsy spin on a fairytale.

Seeing Dance, 4th March 2017

The eight Ballet Black dancers are some of Britain’s hardest workers and this programme shows them at their best: accomplished, versatile and great communicators. Their audiences too are growing. A poll at the after show talk showed a considerable number of first timers, satisfied customers that will hopefully broaden the appeal of ballet.

British Theatre Guide, 4th March 2017

The innuendos come thick and fast. How come she has only one flower when the saucy burlesque girls have two each? And grandmother is played en travesti by José Alves on pointe. The facts of life confuse, but isn’t a bad boy with that hip-hop rolling gait irresistible; does she love it!