Ballet Black made my Manchester Day

The Lowry

Author: Rob Chafer

Source: Wikipedia

Creative Commons Licence 

Ballet Black, Triple Bill, The Quays Theatre, 19 June 2016

I am not sure whether the timing was deliberate but Ballet Black visited us on Manchester Day which celebrates "the creativity and diversity of Manchester ...... where communities can celebrate pride in our city and show what makes them feel uniquely Mancunian [and where] communities, artists and businesses can work together to create something truly special for Manchester" (see the Manchester Day Parade 2016 video on YouTube). Whether or not they were aware of yesterday's significance they could not have come on a better day for Ballet Black, like my beloved birthplace, is hugely creative, its repertoire could not be more diverse and, as I have said more than once, Ballet Black, like Manchester, is special (see Why Ballet Black is Special 20 May 2013 and Ballet Black is still special 7 Nov 2013).

The audience at The Quays sampled that diverse repertoire last night with Arthur Pita's Cristaux. Christopher Marney's To Begin, Begin and Christopher Hampson's Storyville.  Two of Ballet Black's best loved works while I have been following them are Pita's A Dream Within a Midsummer Night's Dream from their 2014 season and Marney's War Letters from 2013. Storyville is another favourite with audiences from the 2012 season which I saw the first time last night. Hampson together with Ernst Meisner was my choreographer of the year last year and Marney is my favourite living British choreographer. Pita is another firm favourite. Those chaps have never put a foot wrong in my eyes. I expected a super evening and that's exactly what I got.

Cristaux opened with Cira Robinson on pointe in a sparkly tutu gyrating to the tinkling rhythm of Drumming Part III  by Steve Reich. She was joined by Mthuthuzeli November in blue and white. Though the steps seemed simple the pace was fast and frenetic and the effect quite mesmerizing. In the programme notes Pita said that he was inspired by the title to Balanchine's Le Palais de Cristal even though it is thought that the title was not intended to be descriptive. "I personally love the title Le Palais de Cristal", wrote Pita, "as it paints such a beautiful image." So he started thinking about crystals and how we can be mesmerized by their simplicity and beauty. "The reflective light that radiates from crystals is so magical and enchanting" he added. "I wanted to capture this feeling." It led him to "a place in which one is not dead or alive, asleep or awake, but somehow being led or seduced by a glimmering light." A mysterious but strangely exciting work.

Marney's To Begin, Begin  was also mysterious but in a very different way. Sayaka Ichikawa appeared as though on stilts draped on an enormous canopy of blue.  In the programme notes Marney explains:

"In To Begin, Begin, you see first a woman walking under a wave, a floating blue silk, waiting to be found by her soul-mate, who descends from above." 

Other dancers follow: Kanika Carr Jacob Wye, Isabela Coracy, Damien Johnson and Joshua Harriet. Marney continues that as the soul-mate finds the woman he witnesses other other relationships but his instincts lead him back to where he belongs. Marney says his inspiration for the piece came from watching an animation that had been made to some music by Dustin O'Halloran for an animation that he had written for the Sophie Coppola film Marie Antoinette. Like all Marney's work it was lyrical and moving.

Storyville was the story of Lulu White, a brothel keeper in the Storyville district of New Orleans, danced by Ichikawa and one of her girls called Nola (danced by Robinson), which appears to be an acronym for New Orleans Louisiana. The ballet charts the course of Nola's short unhappy life from her arrival as an innocent newcomer to the big city to her death a few years later. It is uncannily like Tennessee Williams A Streetcar Named Desire which Hampson's company tuned into a very striking ballet last year (see Scottish Ballet's Streetcar 2 April 2015). I can't help wondering whether there is any connection between Hampson's creation and his company's creation. Nola was danced by Robinson. On stage she seemed so fragile and so vulnerable. It was clear how this story would end. If only I could reach out and rescue her. Lulu's henchman, Mack, the epitome of evil. Lulu and Mack appeared in Nola's dreams or hallucinations as symbols of death. Carr and Coracy were bar girls and November and Wye as their guests. Nola's only hope of salvation was the sailor, Johnson, but not even he could divert her from her path to destruction. Not a pretty work at all but an absorbing and important one.

Before the show we learned from the stage manager that a case containing the programmes and some of the props was missing. I met Cira Robinson and asked what had gone missing. She mentioned her headdress and a chandelier from Cristaux which can be seen in these in Dave Morgan's photo on BalletcoForum. The missing items did not diminish the audience's enjoyment one little bit. However, it would be a great excuse to see the show again in Nottingham next Wednesday or in Leeds in the Autumn.

I do hope Ballet Black enjoyed their visit to Greater Manchester. It was great to see them in our area again and I do hope they come back soon. Perhaps even on Manchester Day again. Maybe they could even be part of it.

Ballet Black at the Barbican

Barbican Centre

Author Tom Morris (Talk)
Creative Commons Licence
Source Wikipedia

                  

Ballet Black, Triple Bill, Barbican, 19 March 2016

Since 2008, I have followed Ballet Black. Every year since then, I have attended their Linbury season at The Royal Opera House, Covent Garden. Without fail, Ballet Black always continue to amaze, inspire and leave me with an effortless feeling of elation when I leave the auditorium post-performance. This year marks Ballet Black’s first season at the Barbican in The City, London while the Linbury undergoes refurbishment. The company executed a programme from commendable and accomplished choreographers, Arthur Pita, Christopher Marney and Christopher Hampson – each choreographer bringing something unique and palatable to the table.

Pita’s piece, Cristaux, began the show. After the curtain went up, Ballet Black company Senior Artist, Cira Robinson, melted across the stage with her fluid bourées. Robinson, adorned in a blinged-out eye-catching tutu designed by Yann Seabra, was the star of Pita’s choreographic celebration. Noticeable Balanchine influences ran throughout the piece, which were utterly beautiful to watch. Unfortunately, I, personally, feel Pita’s creation needed to bake a bit more. All the necessary ingredients are there for success, choreographic and dance talent. However, Pita’s goal by not always having the dancers match the music to Steve Reich’s Drumming Part III needed tightening up. For the fresh observer, this did not always translate. Crisper transitions, which can still be done subtlety, from rhythmic footwork to intentionally off-beat attack (which is much more difficult to rehearse than one would imagine) would help the metamorphosis of this piece into the jewel it is meant to be.

Next on the programme was To Begin, Begin by Christopher Marney. Telling a clear story throughout of which begins with a woman walking under a wave to later be found by her soul mate who transcends from above is satisfying to watch. Ballet Black Senior Company Artist, Sayaka Ichikawa, has attack, tenderness, elegance and overall artistry from top to bottom. Her partner, fellow company member and Senior Artist, Jacob Wye, was strong and a compliment to Ichikawa from beginning to end. Seeing many of Marney’s works on Ballet Black and Ballet Central here in London and at the Edinburgh Festival Fringe, he has a gift to tell a story that is effortless to follow letting you get lost in the moment and enjoy the theatrical experience at hand. Marney has a craft for creating beauty. One suggestion I have would be to see this talent, Marney, begin to take a few more risks. He has a powerhouse of technicians at his disposal in Ballet Black. Clean and elegant are Marney’s forté. Going beyond what Marney is naturally good at and pushing to that next level would be intriguing and a must see.

Concluding the Barbican programme was Storyville by Scottish Ballet Artistic Director, Christopher Hampson. Storyville was first created on Ballet Black in 2012. Since then, Hampson has expanded the piece. This has worked and was just as enjoyable to watch in 2016 as it was in 2012. It is difficult to pin point particular character’s in Hampson’s choreography as every company member on stage brought their talents to the table and delivered. Each company member standing out in their own right in their own character, shining like the soloists they are. I would like to point out the pairing of Senior Artists Cira Robinson and Damien Johnson was pure magic. Both dancers are originally American with American training behind them. Their American technique became more pronounced as they whirled and dazzled through Hampson’s enchaînements and partnerwork in unison. This is absolutely a good thing. For a brief moment, I thought I was in New York City at Lincoln Centre when Robinson and Johnson would take the stage together. Thank you Cassa Pancho and Christohper Hampson for brining these two artists together.

Overall, the programme is strong and very enjoyable to watch. Ballet Black is a company of eight strong links where not a single one falters with each pulling its own weight bringing their technical and artistic delights to each choreographic creation. Lighting design by David Plater complimented all three pieces in the company’s triple bill, simply beautiful and tasteful. I would also like to mention First Year Company Apprentice, Joshua Harriette, is definitely one to watch. Keep up the good work, Harriette. Your charisma shines through. I look forward to the company’s next performance, and hope all involved have received a well deserved break before the next show! Go and see this fantastic company and support them. Well done!