Review - Ballet Black | Triple Bill featuring Red Riding Hood 2017

Ballet Black

Founder & Artistic director:  Cassa Pancho MBE 

Dancers: 

House of Dreams – Sayaka Ichikawa, Damien Johnson, Marie Astrid Mence & Jacob Wye. Captured – Jose Alves, Isabela Coracy, Cira Robinson & Mthuthuzeli Novemeber. Red Riding Hood– Cira Robinson, Jacob Wye, Jose Alves, Isabela Coracy, Damien Johnson, Marie Astrid Mence, Mthunthuzeli November

26th May 2017

Patrick Centre – Birmingham Hippodrome

Review by: Tamar Dixon – Unique Tay

Ballet Black has created a platform exclusively for dancers of Black and Asian descent, with the aim to showcasing more culturally diverse performers. As we know, historically, Ballet has always been catered towards the white middle class audience. But in terms of celebrating diversity in Ballet, Ballet Black is on a mission to “see a fundamental change in…mainstream Ballet companies”. Ballet Black’s unique but quirky choreographic approach to Triple Bill, truly opened my eyes to experimenting with classical Ballet. I acknowledged the sly hint of Hip Hop in Red Riding Hood.

House of Dreams

The delicacy and elegance of both duets in House of Dreams portrayed a sense of romance and peacefulness. The rather dull stage, setting and sophisticated costume (Yukiko Tsukamoto) during this piece left room for the audience to create their own interpretation or instead to simply absorb the gracefulness of light arabesques. I value the simplicity of House of Dreams overall. As they say ‘less is more’… 

On the flip side to peacefulness, the next piece, Captured, took me by surprise due its immense tension of music composed by Dmitri Shostakovich. The choreography reveals mischievous expressions along with sharp, angles of the limbs from the shoulders to the finger tips. As the tempo accelerates so do the dancers, as they shift across the stage, in different directions with precise sharp, bent movements.

Red Riding Hood

Triple Bill later moves on to the highlight of the overall performance, Red Riding Hood, I was pleasantly surprised of the Hip Hop opening. The dancers all stood in a clump with a hunch back and when the beat dropped they rocked and bounced side to side. Yes, immediately I identified this as Hip Hop! Despite the edgy Hip Hop signature moves, I never failed to acknowledge the classical Ballet aspect. Little Red Riding Hood (Cira Robinson) sustains that mystery but innocent character throughout, as she is distracted along her journey to her see her grandmother. The choreographer (Annabelle Lopez Ochoa) obtains the original fairy tale story, combining it with an unusual modern twist. For instance, the Big Bad Wolf (Jacob Wye) resembles a cunning cowboy, who’s somewhat flirtatious and overly confident, as he swings his hips, his long tail and walks with swagger. I found Red Riding Hood entertaining and thrilling. Although at times I found it
difficult to follow and interrupt; particularly during the scenes of the French soundtrack. Nevertheless, I recommend ones to watch Ballet Black, especially for those who love something innovative as well as visioning a stage full of diversity.

Cassa Pancho, founded Ballet Black in 2001 after her training at the Royal Academy of Dance. She was inspired to provide role models for young aspiring Black and Asian dancers. Judging by the audience, I must say that Ballet Black has met their goal, as representation truly matters! Personally I appreciate this representation and the thought into providing this opportunity. I have watched Ballet Black twice and honestly it took me back to my first steps in Ballet, I now wish I pursued. 

All dancers are technically strong, their dedication and hard work shines through

Learn more about Ballet Black

Thank you - Unique Tay