Ballet Black - Running Silent/New Duet/Captured/Storyville

Synopsis

The critically acclaimed Ballet Black strive to honour the traditions of classical ballet while breaking new ground with cutting-edge choreography. Now an essential part of the classical ballet landscape, the company is the perfect showcase for dancers of black and Asian descent, providing them with a platform on which to perform and practise their craft. Unsurprisingly, Ballet Black attracts dancers, choreographers and designers from around the world.

Our Review:

Anne Morley-Priestman - 29 March 2012

Take a dash of Hogarth’s The Harlot’s Progress sequence. Add a soupcon of 1920s louche apache dance, season with Baron Samedi and his voodoo priestess – and then mix together with the music of Kurt Weill. You have the narrative ballet which is Christopher Hampson’s Storyville. It’s the main piece in Ballet Black’s current touring programme and makes an effective climax to the programme.

These young dances have rock-solid technique, with good extension and accurate pointe work for the girls and sure turns and lifts from the boys. The first half of the evening has three contrasted short pieces. Sarah Kundi and Jazmon Voss are the couple whose edgy relationship is emphasised by Jonathan Watkins’ choreography for Together Alone, all sharp angles and abrupt moves.

Running Silent has Kanika Carr as the girl confined by an open space which keeps on bearing her down to the ground. As she bends ...

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