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.
…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.
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.
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.
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.
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!
And so Pancho lands another successful evening’s programme. There is enough here for traditionalists and contemporary fans alike to be satisfied, as well as material strong enough to showcase these elegant yet athletic dancers to the best of their great abilities.
Storyville was a big hit with audiences and critics
packed with dash, daring and joie de vivre
I don’t know much about ballet, but I know what I like. And I like Ballet Black.
showcasing grace and ingenuity to eager spectators
Cira Robinson and Mthuthuzeli November enact courtship to music by Steve Reich in Pita’s ambitious new work Cristaux
Mixed triple bill from a lively, likeable company, with Christopher Hampson’s Storyville making a strong return
It’s impossible not to like Ballet Black, a small company with big ideas
precise, perfectly executed and full of star quality
a company that provides positive role models to young, aspiring black and Asian dancers.
All up, another win for Ballet Black
Ballet Black triple bill – an erotic Jack and Jill meet voodoo pirates. Works by Kit Holder, Will Tuckett and Mark Bruce showcase the company’s considerable range
It has become the norm for each Ballet Black season to showcase a new one-act ballet that utilises all its dancers (once just six, now grown to eight), which is building a distinctive repertory of substantial works by some of the best choreographers around.
Now in its 14th year, Ballet Black made its name as Britain’s first ballet company for black and Asian dancers, but has built its reputation as a small ensemble with a commitment to new choreography that punches above its weight.