Ballet Black's Standing Ovation at the Nottingham Playhouse

Anish Kapoor's Sky Mirror outside Nottingham Playhouse

Author  Superhasn
Licence reproduced with kind permission of the copyright owner
Source Wikipedia

Ballet Black  Double Bill (The Suit and A Dream within a Midsummer Night's Dream) 16 May 2018 19:30 Nottingham Playhouse

Ballet Black received a well deserved standing ovation last night.  Such appreciation is commonplace in many parts of the world but not in this country - at least not outside political party conferences.  There were whoops and cheers from the audience as well as claps.  Ballet Black are obviously doing something right.

Yesterday's performance was very polished.  As I said in my review of the company's performance  at the Barbican, I had been worried that Damian Johnson might be irreplaceable but José Alves has performed the male lead roles in both The Suit and A Dream within A Midsummer Night's Dream admirably.  Like Johnson he dances with authority but he does so in his own way and just as impressively.

I particularly admired his performance as Philemon in The Suit.  Returning home to pick up his briefcase he finds his wife in bed with Simon. His countenance is like a book. First the disbelief.  "Is this actually happening?" The the shock as he collapses to the floor. The surge of anger that leads to the cruel humiliation of Matilda.  The role of Philemon was created for Alves and it is hard to imagine anyone else dancing it as well.

The wife was danced by Cira Robinson who is truly a ballerina in the traditional sense  and I think this is her finest role.  It would be impertinent of me to compliment her on her virtuosity or her dramatic skills for, as I say, she is a ballerina.  What do I mean by that?  The best way of putting it is that in most performances the artists portray their character but a truly fine artist - a ballerina - can become that character.  And so it was last night as Tilly was pushed beyond endurance.  My body shook as that beautiful woman in a simple blue dress convulsed and then hung still. Tears were welling up uncontrollably even though I knew she would snap back smiling and full or life for the curtsy just seconds away.

Seeing The Suit for a second time I noticed some interesting touches that I had missed before like dancers representing mirrors, wash basins or items of furniture.  By focusing on details such as old lady crossing the street and bumping into passers by, Marston seemed to conjure a crowd.  Mthuthuzeli November danced Simon, the owner of the suit. The rest of the company danced the chorus, commuters and passers by.

The Suit was a chilling but compelling work that left our emotions raw.  Pita's Dream applied the balm.  Yesterday must have been the sixth or maybe seventh time that I had seen that work and it never fails to charm me.   I always find something new.   Whereas The Suit focuses on Philemon and Tilly, everyone has an important role in Dream.  Robinson was Titania, of course, and Alves became Obron. Isabela Coracy amused us as Puck in her scouts uniform and green beard liberally scattering her glitter and dragging dancers by their legs around the stage. Sayaka Ichikawa and Marie-Astrid Mence charmed us as Helena and Hermia. Their Demetrius and Lysander were November and Ebony Thomas. Grunting and swaggering small wonder the girls preferred each other. November also played the one role that Shakespeare never envisaged, namely Salvador Dali in the quest for his missing moustache.

Ballet Black are about to visit Scotland where I took my first ballet class and was introduced to what is now Scottish Ballet.  One of their venues is Dundee Repertory Theatre which is just 12 miles from St Andrews where there is a Dance Club of over 100 members that I helped to found nearly 50 years ago (see St Andrews University Dance Club's 50th Anniversary Gala 5 May 2018). Should any of those students still be in town on 6 June 2018 I strongly recommend their crossing the Tay to see this show.

Fifty years after that first class at St Andrews, I attended class with the undergraduates of Ballet West (see Visiting Taynuilt 4 May 2018). A few days before my visit Scottish Ballet held a workshop at Taynuilt when they visited Oban to dance Highland Fling. Taynuilt is quite a trek from any of the venues where Ballet Black are to perform but I do hope that at least a few of the excellent young men and women I met last month can make it to Dundee, Inverness or Glasgow.

My next opportunity to see Ballet Black will be on 19 Nov when they will return to The Lowry.  They can expect a very warm welcome there

Excellence - Ballet Black's Double Bill

Ballet Black  The Suit and A Dream within Midsummer Night's Dream Barbican Centre 16 March 2018, 20:00

After seeing extracts of Cathy Marston's The Suit and Arthur Pita's A Dream within Midsummer Night's Dream at Ballet Black's rehearsal studios on 25 Feb 2018, I wrote that I was confident that this year's tour would be Ballet Black's most successful yet (see Visiting Friends - Ballet Black at Home  7 March 2018).  And so it has proved.  I don't think I have ever seen them dance better. I don't think I have ever seen their audience more thrilled.

I was led to Ballet Black by Sarah Kundi whom I admired greatly when she danced in Leeds. When she left Ballet Black I was desolate. How could the company be the same without her?  But it did and became even better (see Ballet Black is still special 7 Nov 2013).  A few years later it lost another of my favourite dancers, Kanika Carr with her beautifully expressive face and laughing eyes. Again, I felt bereft but the company recruited beautiful new dancers and was stronger still.  And then Damian Johnson, my male dancer of the year for 2017, returned to the United States. How could Ballet Black ever recover from his departure? For a moment I feared they couldn't (see Ballet Black post Johnson - Still a good performance but something was missing 19 Nov 2017).  But it has for last night's performance was outstanding.  Walking back to my hotel I realized that Ballet Black is like a living thing, greater than the sum of its parts and capable of regenerating itself even after it loses an important member.

Cathy Marston's The Suit is based on Can Themba's short story which was made into a powerful film in 2016 and stage play, Briefly it is about a husband who punishes his wife's infidelity by treating her lover's suit as though it were a living guest placing it at the table for meals and taking it outside for walks. The wife can endure only so much of this humiliation before she hangs herself on her lover's tie. Set in apartheid South Africa her oppression is compounded by the repression of the state. The austerity under which even highly educated Africans were obliged to live was represented by skeletal furniture and a percussive score.  Particularly effective was the crumbling wall of sound that accompanied the mind shattering discovery of a stranger in the marital bed.

The wife, Matilda or Tilly, was danced by Cira Robinson.   Perhaps her finest performance in any ballet and certainly the most dramatic.  José Alves was Philemon her husband.  Another stunning performance. Simon, the lover, the owner of the suit was Mthuthuzeli November.  The rest of the company danced neighbours in Sophiatown.   In the programme they are described as a "chorus".  The use of a chorus is a technique that I noticed in Jane Eyre, the other Marston ballet that I have seen recently.  The choreographer will no doubt correct me if I am wrong, but I think it is the balletic equivalent to Greek drama. I find it very effective.

After that stage suicide - not the first I have seen in the last few months (Las Hermanas in Northern Ballet's MacMillan Celebration and English National Ballet's Le Jeune Homme et la Mort in Tamara Rojo at Last! Le Jeune Homme et la Mort and La Sylphide) we needed a bit of cheer and Arthur Pita provided it with A Dream within A Midsummer Night's Dream.  This was the fifth time that I have seen that ballet and I love it.  I love Isabela Coracy's playful Puck in boy scout uniform, Titania's infatuation with Bottom (November), the delicious girlishness of Hermia and Helena (Marie Astrid Mence and Sayaka Ichikawa) and Oberon's grunting with his butterfly net. Alves danced Oberon beautifully, with gravitas tempered with levity.  I love the music and although I am still not sure how Salvador Dali fits into the story I love him and his moustache too.  In this staging of the work November glides in with a Dali dead.  I love the music, particularly the Yma  Suma and the stately Handel with the girls in classical tutus at the beginning and the end.

I had originally planned to see the double bill tonight and had a ticket for the centre stalls but on learning of the talk I asked the theatre to exchange it for whatever it had for yesterday so that I could attend the discussion.  Actually I did very well for I was in the centre of row B of the gallery commanding a great view of the stage with the most vocal and appreciative section of the crowd.  I am so glad that I stayed for the talk because Cira Robinson was magnificent.  She spoke about her art with passion.  I have always admired her. Yesterday my respect increased 200%. But there was another treat. Arthur Pita was in the audience and he spoke how Shakespeare had inspired his Dream and his love for every piece of the score.

Finally, on the way out to Silk Street I spotted some of the dancers. If they read this review they would have known how much I loved last night's performance. But yesterday I could tell them in person and that was so much more satisfying.

Visiting Friends - Ballet Black at Home

The View from outside the Feathers

Author Geoffrey Skelsey
Licence Creative Commons Attribution-Share Alike 4.0 International
Source Wikipedia

The day before I left for Amsterdam while the Beast form the East was still stalking its lair I visited Ballet Black for a rehearsal of extracts from Arthur Pita's  A Dream Within a Midsummer Night’s Dream and Cathy Marston's The Suit which the company will present at the Barbican between 15 and 17 March 2018. Every performance of that show is now sold out but the company will take it on tour to Newbury, Hatfield, Bristol, Nottingham, Inverness, Dundee and Exeter in Spring and no doubt Leeds and other venues in the North in the Autumn (see the Performances page of Ballet Black's website).

Pita's Dream is already a favourite with audiences and critics. I raved about it in 2014 when I saw it no less than 4 times in London, Southport, Nottingham and Leeds (see Extra Special - Ballet Black at the Linbury 26 Feb 2014  27 Feb 2014 and the links to other reviews and articles). The Suit also promises much with music by Philip Feeney and designs by Jane Heather.  As I don't want to spoil the anticipation of either ballet, all I will say at this stage is that Cira Robinson delighted me again as a regal Titania and Isabela Coracy as a playful Puck, Marston's work is dramatic and I was reminded of Jane Eyre and Rochester in the duet and the demons from Marston's work for Northern Ballet in the extract that was performed for us.

The rehearsal took place in Ballet Black's new studios at The Feathers Association in Lisson Grove. That's not a part of London that I know well and as Hull Trains delivered me to King's Cross with a couple of hours to spare I explored the neighbourhood.  It is largely residential with few places to eat though I managed to find a cafe a few hundred yards from the studios that served some excellent Moroccan specialities for a very reasonable price. The Feathers is positioned on a bridge above the railway tracks leading to Marylebone station from which the above photo must have been taken.

The visit was a special event for Friends of the company.  If you are not already a Friend, Thandie Newton, the company's patron, lists some of the benefits of membership:

"Internationally recognised for its vital message of giving black and Asian dancers the professional opportunities they merit based solely on their talent and dedication, Ballet Black continues to amaze. As a Friend, you will be making a valuable contribution to the sustainability of this small yet hugely significant company and will support its ongoing commitment to aspiring dancers and to its ever increasing and loyal audience. In return, Ballet Black will welcome you behind the scenes to watch Company rehearsals under the exceptional eye of Artistic Director, Cassa Pancho as well as with acclaimed guest choreographers. You will receive quarterly newsletters to keep you up-to-date about news, events and performances so you will never miss out."

After the show, the company invited us for tea and biscuits in their office where the dancers joined us. It was very pleasant to see them all again.  The only one I did not already know was Ebony Thomas who had impressed me in Leeds in November and I took the opportunity to introduce myself to him.

I am confident that this year's tour will be Ballet Black's most successful yet.  I shall watch the show on Friday 16 after which there will be a post show talk.   The next day there will be an open rehearsal and workshop as part of the Barbican OpenFest.  According to the blurb:

"Cassa Pancho (Artistic Director of Ballet Black) will conduct a Ballet Class for all ages on the Barbican Freestage, prior to Ballet Black's open rehearsal and performance on Saturday evening in the Barbican Theatre. This workshop is free and open to all, no prior experience necessary."

I can hardly wait.

Ballet Black at Home in Leeds

Ballet Black Limbo Two of a Kind Dream Highlights 26 Feb 2014 from Wizard Video Productions Ltd on Vimeo.

Ballet Black may be based in London but when they come to Leeds we welcome that company as one of our own. It packs the Stanley and Audrey Burton Theatre.  We applaud the dancers until our hands are sore.  They clearly feel at home in Leeds for they dance here better than anywhere else.  The ambiance helps.  The theatre forms part of the complex of offices and studios in which Northern Ballet, Phoenix Dance Theatre and the Northern Ballet Academy are based.  It is designed for dance and I can attest from personal experience that it is a great stage on which to dance. The seats are very close to the stage which makes it possible to catch detail that would be missed in a bigger auditorium.

I had already seen this triple bill three times - at the Linbury (Extra Special - Ballet Black at the Linbury 26 Feb 2014 27 Feb 2014, Southport (What could be more thrilling than a Ride on a Roller Coaster? A performance by Ballet Black! 23 May 2014) and Nottingham (Best Ever - Ballet Black at the Nottingham Playhouse 3 July 2014) - but when I saw it for a fourth time last night it still seemed fresh. I discovered  new things in each of the ballets.  In previous performances I had not really understood Limbo although I had always admired the dancing.  Yesterday the choreography and the music started to make sense. Exasperatingly because Ballet Black will have a new programme when it returns to the Linbury in February. Yesterday was almost the last opportunity to see Limbo for some time. Two of a Kind remains my favourite work for its soaring lifts and expression of joy to a beautiful score but I love Arthur Pita's A Dream Within a Midsummer Night’s Dream too.

Some important things have happened to Ballet Black since I last saw the programme at Nottingham in July. They have been nominated for the Best Independent Company award of the National Dance Awards and Pita's Dream as the best classical choreography. They have created their first children's ballet Dogs Don't Do Ballet (see Woof 12 Oct 2014). They have recruited Marie-Astrid Mence whom I had described as an adorable Anna in Dogs.  Last night she danced a spirited Helena in Dream.  She is a dancer to watch.

Everyone danced well last night.  I was a fan of Isabela Coracy even before I saw her dance last year (see Ballet Black's New Dancers 24 Sept 2013).  Every time I see her she impresses me more.  The same is true of Christopher Renfurm who joined the company at about the same time last year. Great in character roles but also in the pas de deux in Two of a Kind.   Jose Alves and Jacob Wye are always exciting to watch and Kanika Carr is charming.  I have only met her briefly once but I am sure she is enormous fun in real life. She seems to get her head stuck in things: a butterfly net last night and a French horn in Dogs. Damien Johnson and Cira Robinson are magnificent. Johnson dominates the stage, particularly in Two of a Kind and the opening and closing scenes of Dream. Robinson is a a ballerina in the traditional sense, a classical dancer of the highest calibre.

After its second performance in Leeds tonight the company moves on to Watford and Winchester.  If you live anywhere near those towns do go to see the show.

Best Ever - Ballet Black at the Nottingham Playhouse

Yesterday I was in Nottingham where I saw Ballet Black's Triple Bill at the Playhouse. This is the third time I have seen this programme the other times being 26 Feb 2014 in London ("Extra Special - Ballet Black at the Linbury "267Feb 2014") and 22 May 2014 in Southport ("What could be more thrilling than a Ride on a Roller Coaster? A performance by Ballet Black" 23 May 2014). Of the three performances this is the one I enjoyed the most though I cannot be sure whether that is because the company danced better than ever before or because I had seen the works before and knew what to look out for.

The programme began with Martin Lawrence's Limbo.  As in Southport the female role was danced by Isabela Coracy. In Southport I had admired Coracy's power and energy. This time I marvelled at her grace which was best exemplified in a lift towards the end where she runs towards stage right and is caught and raised by Jose Alves and Jacob Wye. She is a very versatile dancer as we saw later when she danced Puck in A Dream Within A Midsummer Night's Dream.  I had high expectations of her ever since I saw a scratchy video of her Diana and Actaeon from Brazil (see "Ballet Black's New Dancers"  24 Sept 2013) and I became a fan and these were more than realized when I saw her in The One Played Twice in Leeds (see "Ballet Black is still special" 7 Nov 2013). Coracy would not have shone had it not been for Alves and Wye who are both attractive dancers. Hindemith's score and Lawrence's choreography challenge audiences as much as dancers. There can be no smiles in Limbo as it is a place of lost souls and that is not always easy to sit through but they conducted us through it (albeit not comfortably) by the magnificence of their dancing.

For me the highlight of this programme is Christopher Marney's Two of a Kind.   You can see a photo of it here. I love Marney's work because of his enhanced sensitivity to music.  All choreographers have to be sensitive to music but Marney is exceptional in that regard. On the one occasion I met him I asked him whether he visualized the choreography from first hearing a work and he replied that he did.  His ballets are beautiful and they show off the dancers to best advantage. I have always enjoyed watching Cira Robinson and Kanika Carr (whom together with Damien Johnson and Christopher Renfutm I once had the pleasure of meeting) but last night they (together with Johnson and Renfurm) were particularly beautiful.  My eyes moistened throughout the work. It was over far too soon. There is only one other work that moves me in that way and that is Fokine's Dying Swan. It is amazing how Marney - still a young man - has mastered his art to such a high degree.

While sitting in the bar over my orange juice reflecting over what I had just seen someone called my name. It was Cassa Pancho, the company's founder and artistic director. She is a remarkable woman who has done great things with this company and I was flattered that she remembered me.  I blurted out my admiration for Coracy in Limbo, how much I was moved by Two of a Kind and my admiration for Ballet Black. She accepted those compliments with  considerable grace.  They were sincere.  I had seen some great ballet in the last few weeks - Northern Ballet's mixed programme, Birmingham's Fille and Ballet Cymru's Beauty and the Beast and I had loved them all - but yesterday's programme is the one I liked best. When I was in Glasgow to see Hansel and Gretel just before Christmas a very dear friend from St Andrews who knows me better than I know myself interrupted a stream of superlatives about Scottish Ballet with the observation "But your real favourite is Ballet Black." "No" I protested "I have no favourites. I love them all though perhaps Scottish Ballet has a special place in my affection because I have known and loved it the longest." Maybe my friend was right. Perhaps I do have a favourite in which case that favourite would be Ballet Black.

The last work of the programme was Arthur Pita's Dream.  That is another work I like a lot. There are lots of layers to this work and I think I understood the structure better. It begins and ends classically with the dancers in white, the women in tutus dancing to Handel. It is interrupted by Puck dressed as a scout scattering tinsel. Some of that tinsel had landed on Mel and me when we were in Southport and Mel tweeted how she had danced particularly well after putting some of it in her pointe shoes. Anyway Puck holds a flag of soft fabric through which the dancers pass and they are transported to a tropical wonderland (let's pretend it is Sierra Leone which I know) with storms, exquisite bird song and exotic music. It is there that Carr performs a remarkable samba on pointe, where Robinson falls in love with Alves in his ass's ears, Johnson roars around the stage with a butterfly net, Ichikawa and Carr perform a delightful duet after one is spurned and the other is chased by Alves and Wye and Christopher Renfrum appears as Salvador Dali and receives half a moustache from Oberon. At the end of the work the dancers pass through Puck's flag again and are restored to Handel, sashes, tutus and pointe shoes.

There is a chance to see this programme one more time in Leeds on 6 and 7 Nov at the Stanley and Audrey Burton Theatre (the stage upon which I danced last Saturday). The company is moving on to new works including its first children's ballet "Dogs Don't Do Ballet" which opens in Harlow on 11 Oct 2014. After watching me perform my grandson manqué, Vlad the Lad, believes that anything (including a dog) can dance but he did ask what Biff, who is a boy dog, was doing in a tutu in Anna Kemp's story which I couldn't answer. According to Cassa all will be revealed on opening night.

What could be more thrilling than a Ride on a Roller Coaster? A performance by Ballet Black!

Ballet Black, Triple Bill, The Atkinson, Southport 23 May 2014

I have just returned from Southport where I saw Ballet Black. They danced the works that I saw at the Linbury in February (see "Extra Special - Ballet Black at the Linbury 26 Feb 2014" 27 Feb 2014). It was the same programme but different - and different in a good way for I thought that they danced better than I had ever seen them dance before.

The first ballet was Limbo by Martin Lawrence which he set to a score by Hindemith.  As in February the male dancers were  Jose Alves and Jacob Wye but Isabela Coracy danced the female role. She interpreted it quite differently from Cira Robinson. Robinson is a remarkably graceful and elegant classical dancer. Coracy is a ball of energy and extremely strong. I have been a Coracy fan ever since I saw her dance Diana and Actaeon with Helenonilson Ferreira on YouTube (see "Ballet Black's New Dancers" 24 Sept 2013). That was the piece that I saw Michaela de Prince dance in Amsterdam ("The Junior Company of the Dutch National Ballet - Stadsshouwburg Amsterdam" 24 Nov 2013). Like de Prince Coracy has enormous potential and it is likely that she and de Prince will be compared throughout their careers.

As readers of this blog may have noticed, I am also something of a Marney fan (see "Christopher Marney" 16 March 2014).  He is the next guest of the London Ballet Circle on 2 June 2014. I shall be at the Civil Service Club to hear him speak. I hope I get a chance to shake his hand.  Two of a Kind, reminded me why I admire Marney so much.   Flowing and soaring with the most remarkable lifts the ballet expressed the ecstasy of love.  At least twice in her pas de deux, Robinson was turned literally head over heals.  Such a position could have been ungainly for most dancers but Robinson gave it beauty.  The choreography brought out the best in all the dancers, Damien Johnson, Kanika Carr and Christopher Renfurm as well as Robinson. I cannot tell whether it was a joy to dance - though I suspect it was - but it was certainly a joy to watch.

Having seen A Dream within Midsummer Night's Dream in February I concentrated on the detail. For the first time I noticed Carr's virtuosity: a remarkable samba on pointe and some spectacular fouettés. She has a most expressive face that can tell a story with a single glance and that was the quality that I had noticed before. I noticed the humour second time round. Sayaka Ichikawa as Helena beating off the attentions of Demetrius and Lysander (Alves and Wye).  Titania (Robinson)'s infatuation with Bottom (Alves). My companion yesterday evening (who is herself an accomplished dancer) said that she enjoyed Arthur Pita's Dream even more than David Nixon's. While I would not go quite that far because Nixon's ballet is special for me I certainly enjoyed Pita's very much indeed.

There were two pleasant surprises yesterday evening. The first was meeting Janet McNulty, one of the most authoritative contributors to BalletCo Forum. She has seen a lot of ballet and knows what she is talking about.  I look to her before most critics when I want to know something about a show. The second was meeting Cassa Pancho and bumping into some of the dancers in the foyer.  It was great to have an opportunity to tell then just how much we enjoyed the show though I think they must have known that already. The house was not quite as full as it might have been but the applause at the end was sustained and deafening. More than a few of us felt compelled to rise to our feet and that does not happen every day in ballet.

The company will be in Exeter on the 27 and 28 May and then Nottingham on the 2 July.  In the Autumn they will be back in Leeds.  If you live anywhere near those cities go see the show.

Extra Special - Ballet Black at the Linbury 26 Feb 2014

Salvador Dali - danced by Christopher
Renfern in Arthur Pita's "Dream within
A Midsummer Night's Dream"
Source Wikipedia

I have already said that Ballet Black are special (see "Why Ballet Black Is special" 20 May 2013 and "Ballet Black is still special" 7 Nov 2013). Well yesterday at the Linbury they were extra special.  They presented three new works:

• Limbo by Martin Lawrence
• Two of a Kind by Christopher Marney, and
• A Dream within Midsummer Night's Dream by Arthur Pita.

Each of those works was exquisite and drew out a different quality in the company: Limbo its virtuosity, Two of a Kind its fluency and elegance and A Dream within Midsummer Night's Dream its theatricality and sense of fun. I had listed the company's performances at Bernie Grant and the Stanley and Audrey Burton Theatre as highlights of last year (see Anniversary Post 25 Feb 2014). Last night's performance was even better than those shows.

Writing in the programme Lawrence explained that Limbo is "a speculative idea about the afterlife of a human being dying in 'original sin' without being assigned to the hell of the damned." He explained that this work was "not a narrative but a deep feeling of striving for one's life ... surviving it or leaving this world for another.

Dedicating this work to the memory of his late grandmother, Annie Lawrence, the choreographer added:

"The notion of death and whether there is life after death played a big part in the process of making this piece. When someone is dying you do not want them to go. You hope that they will be around forever."

And then he speculated

"If someone is in Limbo can they also be brought back to life?"

With costumes designed by Rebecca Hayes and lighting by David Plater the dancers,  Jose Alves, Jacob Wye and Cira Robinson, gave the impression of flickering embers. Obviously it was not intended to be comfortable to watch. Similarly Hindemith's Sonata for Solo Voila (1922) Op 25 No 1 was not supposed to be easy to listen to.  The interaction between the dancers was combative.  Each of them was grim faced. But the choreography gave each dancer an opportunity to display his or her virtuosity. Altogether, a very moving and compelling work.

The mood of Two of a Kind was very different. In place of combat there was love. Flowing and lyrical this work was a joy to watch. At various points I was reminded of War Letters by the same choreographer that I loved so much last year.  This recollection was bolstered by the costumes that had been designed by Yukiko Tsukamoto - simple almost military uniforms for the men (Damien Johnson and Christopher Renfurn) and gorgeous full skirted dresses in vivid fabrics for the women (Kanika Carr and Sayaka Ichikawa). Combining Tchaikovsky's Souvenir de Florence String Sextet in D minor and Adagio cantabile e con moto in D major with Ravel's Pavane for a Dead Princess Chris Marney chose a delightful score. Having been scoured emotionally by the first work we were soothed by the balm of the second.  As the curtain fell the audience departed for the bar happy and chattering.

There must be something about Midsummer Night's Dream that brings out the best in a choreographer. Something special happened in Leeds on the 14 Sept 2013 ("Realizing Another Dream" 15 Sept 2013) and something of the same kind happened in The Linbury last night.

The ballet starts with three couples - Titania and Oberon (Robinson and Johnson), Demetrius and Helena (Alves and Ichikawa) and Lysander and Hermia (Wye and Carr) - dancing to Handel. The women are in classical tutus Titania and Obseron wearing blue sashes to show their status with a crown for Titania. Suddenly the music changes to Malambo and everyone is in dappled light. In comes Puck (Isabela Coracy) dressed as a boy scout scattering star dust first on the dancers and then on the first 4 rows of the audience including me. Coracy's casting as Puck was a surprise and a delight.  A surprise because she is a powerful athletic dancer (see "Ballet Black's New Dancers" 24 Sept 2013). To see Coracy as a talented character artist was something as a revelation.

Although Pita had written in the programme that his ballet was not at all faithful to Shakspeare he seemed to follow the story far more closely than Nixon did in his Dream.  Spells are cast over the lovers, Titania and Bottom and there is a charming pas de deux of Robinson and Alves with ass's ears to the sound of Streisland's Bewitched Bothered and Bewildered.  The only bit of the ballet that I could not quite fathom was the role of Salvador Dali danced by Renfurn. Nevertheless if Nixon can have the Flying Scotsman in his ballet Pita was at least as entitled to have Dali in his.  After a downpour in a tropical rain forest and a variety of songs the score reverted to Handel and the first scene resumed.

Visual designs were by Jean-Marc Puissant and sound designs by Andrew Holdsworth and Frank Moon. Lighting was provided again by David Plater.  If anyone wants an impression of the ballet John Ross has exhibited some lovely photos on his website.

The entire season at the Linbury has been sold out for some time but Ballet Black are taking this new programme on tour (see "Ballet Black's Tour" 22 Fb 2014).  If you live anywhere near Cambridge, Guildford, Exeter, Southport or Nottingham you really should see them.

Further Reading

17 Feb 2015  "Ballet Black's Best Performance Yet" - a review of the 2015 mixed bill
10 Feb 2015  John  Ross Ballet Black: triple bill, London, February 2015 BalletcoForum
7 Nov 2014  "Ballet Black at Home in Leeds"
12 Oct 2014  "Woof"
17 Sept 2014 "My T-shirt says it all"
3 July 2914 "Best Ever - Ballet Black at the Nottingham Playhouse"
9 March 2014 "David Lister's Post on Ballet Black"
23 May 2014 "What could be more thrilling than a Ride on a Roller Coaster? A performance by Ballet Black!"
7 March 2014 David Lister "Ballet Black is a wonderful company. But it's a shame on the arts that it still exists" Independent Voices
2 March 2014   Luke Jennings  "Ballet Black review – old-school charm, new-age wit" Guardian
27 Feb 2014  Zoe Anderson  "Ballet Black, A Dream Within a Midsummer Night's Dream, dance review" Independent