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.
It’s typical of Ballet Black that this clever, enterprising company should be the first to commission a work from Mark Bruce, in the wake of his award-winning production of Dracula. Typical, too, that the result, Second Coming, shows us such new things about choreographer and dancers alike.
While ballet has a long way to go in addressing these issues, there are plenty of dancers in the contemporary realm who are actively working to change the white-washed, body oppressive world of ballet. Behold, 17 ballet icons who are changing the face of dance
Star of the evening is unquestionably Arthur Pita’s A Dream within a Midsummer Night’s Dream which manages to be magical, funny, beautiful and anarchic while distilling the essence of Shakespeare’s most popular comedy into a heady post-classical concoction.
Kudos to choreographer Arthur Pita for giving us possibly the first lesbian kiss in ballet. His new piece for Ballet Black, A Dream Within a Midsummer Night’s Dream, also offers up mambo in pointe shoes, Bottom and Titania getting it on to the sounds of Barbra Streisand and a female Puck in a boy scout uniform and stick-on beard.
Arthur Pita’s A Dream Within A Midsummer Night’s Dream shows Ballet Black’s dancers at their most classical – then gleefully twists that upside down in a burst of Shakespeare-inspired mayhem. The company have never looked better.
Ballet Black review – oldschool charm, newage wit
BB’s new mixed programme at the Royal Opera House shows off the company’s considerable strength and range
This is repertory that any large company would be happy to own. And the heroic Ballet Black have managed it on a shoestring.
IN TWELVE short years, Ballet Black has made quite a name for itself, winning prestigious awards and forging an enviable link with the Royal Opera House. What it hasn’t done however, is visit Scotland – until now.
Ballet Black is the black diamond in the crown of modern ballet and once again has pushed the boundaries. Catch them touring if you can.
Sitting within sweat sniffing distance, I still couldn’t consider these dancers as human beings not too unlike myself. Their lean lengthy limbs, sheathed in firm hairless, healthy flesh, musculature prominent. A faint outline of occasionally provoked nipples being one of the only features reminding you that these dancers have real bodily functions and juices.
A whistle-stop trip to Russia immediately after this show has allowed the rare luxury of the overall scope and flavour of an ambitious quadruple bill of new work to simmer in my consciousness before writing this review. To begin with let’s consider the rarity of that brief statement – a “quadruple bill of new work”: We may not experience such a programme that often
The opening half of the show is fun-time for the dancers, a trio of short works giving them a chance to shine. Ludovic Ondiviela’s frothy love duet Dopamine (You Make My Levels Go Silly) is the pick, a hyperactive fizz of first love, but Robert Binet’s Egal and The One Played Twice by Javier de Frutos aren’t far behind, the pure joy of dance spilling out from every step.
Ballet Black, the award-winning company founded to provide role models for black and Asian ballet dancers, is now 12 years old. It has established its own identity, which is as much about new work as it is about the colour of the dancers’ skin. It’s a small, sparky company with plenty of ambition and swagger.
The award-winning company of black and Asian dancers founded by Cassa Pancho in 2001 comes storming back onto the Linbury stage with a toothsome quartet of works. A brace of duets, an amuse-yeux from dance jester Javier de Frutos and a full-blooded narrative contribute to an immensely varied and satisfying programme.
There should be no need for a company called Ballet Black, just as there should be no need for all-female political party shortlists. But there is, and for two reasons: to offer a platform for classically trained dancers of colour, particularly women, conspicuously absent from Britain’s big ballet companies; and to provide role models for a rising generation of talented kids. But in the 12 years of Ballet Black’s existence, it has found itself a third raison d’être. It’s hard to think of another small company that even comes close to its turnover of new work.