Jump to content

Search the Community

Showing results for tags 'Ballet Black'.

More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


  • The forums
    • Performances seen & general discussions
    • Ballet / Dance news & information
    • Dance Links - reviews, news & features
    • Doing Dance
    • Ticket Exchange & Special Offers
    • Not Dance
    • Photo archive
    • About BalletcoForum


There are no results to display.

Find results in...

Find results that contain...

Date Created

  • Start


Last Updated

  • Start


Filter by number of...


  • Start





Website URL







Found 6 results

  1. Did no Forum contributors go to the Hippodrome last week ? Due to old age this is the first season for over 20 years that I haven’t become a subscriber and due to ill health I had to miss the first of the only three shows booked. I had been hoping ( with mixed feelings) to reading a review of what I had missed. I have heard a rumour that the new work was very good. More information would be very welcome.
  2. Exciting news via Facebook from Ballet Black and Freed on the launch of two new skin tones of shoe for poc.
  3. Ballet Black was back in Leeds last night with what is likely to be the last performances in the UK of Kit Holder's "To Fetch a Pail of Water?", Will Tuckett's Depouillement and Mark Bruce's "Second Coming" in the UK for some time. When we next see them again at the Barbican in March they will have a new programme of works by Christopher Hampson, Christopher Marney and Arthur Pita. It was good to welcome back Sayaka Ichikawa after a year's absence and to meet the company's impressive young dancers Mthuthuzeli November and Joshua Harriette. Judging by their performance last night we can expect great things from both of them. Even though I have now seen "Second Coming" three times and have read and re-read Yeats's poem many times I am still no nearer to understanding it than I was when I saw it for the first time at the Limbury. However it remains a gorgeous work with some exquisite dancing, particularly Damien Johnson and Cira Robinson's pas de deux to Elgar's Cello Concerto. The company danced all three works well and I have reviewed them in my blog if anyone is interested.
  4. I've just received an email from the Barbican stating, among other things, that Ballet Black will be appearing there next year: http://www.barbican.org.uk/theatre/event-detail.asp?ID=18677&utm_source=SilverpopMailing&utm_medium=email&utm_campaign=CCBIT061015X&utm_content=&spMailingID=49702337&spUserID=NDc3MDc2OTQ2MAS2&spJobID=780638569&spReportId=NzgwNjM4NTY5S0 I guess this covers the closure period for the ROH's Linbury Studio Theatre.
  5. Is anyone else coming to see Ballet Black's new programme at the Linbury next week or on their subsequent tour which takes in Cambridge, Guidford, Southport, Exeter and Nottingham? I saw them twice last year at the Bernie Grant Arts Centre in Tottenham in May and at Quarry Hill in November. I was bowled over by Christopher Marney's War Letters and Ludovik Ondiviela's Dopamine and although the company has lost Sarah Kundi to MurleyDance it has gained Isabela Coracy from Brazil who is a very powerful, athletic dancer. I am a great admirer of their founder and artistic director Cassa Pancho. The new programme includes another new work by Marney as well as new ballets by Arthur Pita and Martin Lawrence. I am trekking down to London on the 26 Feb and also catching them in Southport on 22 May. For the last couple of years they have visited Leeds and if they come again this year I shall catch them there too. I can't see enough of them. I shall of course let you know how they get on Wednesday and also when I see them in Southport. En passant I should just like to say hello to Vlad Pereira. My former ward's little boy (who is the nearest I have to a grandson) is also called Vlad. He is already signs of interest in ballet at the age of 3. His mum will be at the show. I saw both Nureyev and Fonteyn dance on several occasions though my favourites at the time were Sibley and Dowell. Although Nureyev and Fonteyn were great dancers I think there are also great dancers now.
  6. Cambridge Arts Theatre Wednesday 13 June 2012 Despite this being Ballet Black’s eleventh year, I have to admit to not having seen them previously. And, on Wednesday night’s evidence, I suspect I’ve been missing the occasional treat. It proved a highly satisfactory evening, delivered by a company of just 7 dancers who, having begun this tour at the Linbury back in March, gave every sign of having completely absorbed the four dances on the programme. (There is one final performance, in Nottingham, on 19 June.) The first half comprised three pieces set respectively for two, one, and four dancers. The title of the first, Jonathan Watkins’ “Together Alone,” was probably sufficient to suggest that it might have something to do with ‘connection’ or the lack of it, and so it proved. It was nicely put across by Sayaka Ichikawa and Damien Johnson but, as this oft-worked genre goes, it did not strike me as particularly memorable. This was followed by the solo “Running Silent,” with choreography by Jonathan Goddard, set to an interesting piece for solo cello. The dancer here was Kanika Carr, listed in the programme as a Second Year apprentice, who spent a good deal of time on the floor “twisted and pulled by outside influences.” That was, I think, a pity for, whilst taking her calls and again in the second half, she revealed a smile of Nunez proportions with an outgoing personality to match, and I would happily watch her again in something that made best use of such attributes. So far, so OK – but things began to take off for me with Martin Lawrance’s “Captured” for two couples, set to a Shostakovich String Quartet of seven short movements. (I see that he is choreographing Scottish Ballet’s contribution to ‘Dance UK’ next month, and this was an excellent foretaste.) The ever-changing music allowed for lots of differing combinations of mood from Damien Johnson and Sarah Kundi, Joseph Poulton and Cira Robinson. And I have to declare Miss Kundi as my find of the night – tall and elegant, I was captured from her first jump! The second half was Chris Hampson’s “Storyville,” the name of a once-notorious district of New Orleans, where a Madame Lulu White ran Mahogany Hall, one of the major ‘sporting houses’ in which the district specialised. The story begins in 1915, a couple of years before the US Navy managed to have the area closed-down, an event that had much to do with Jazz moving north to Chicago – but I digress. The ballet is well-crafted chamber narrative for all seven dancers, in which a wide-eyed youngster is ensnared in a life of vice by glittering gifts, with love found and lost en-route to her inevitable, disastrous end. One could say that it’s all rather redolent of “Manon,” save that this ballet takes place entirely within Louisiana – and that Chris Hampson gets through the narrative arc in just some 35 minutes. A combination of silent movie-type storyboards and a well-chosen score – mostly from Weill’s “Threepenny Opera” – moves the action forwards in discrete sections, and with clarity. The focus is, naturally, largely on Cira Robinson’s Nola who, whilst possibly too mature for the part at the start, gradually takes it over and gives a compelling performance as the disintegrating girl towards the end. All in all, a most satisfactory piece of work from a company that I certainly hope to see again. Courtesy of DanceTabs, there is a link to a Dave Morgan Gallery on "Storyville' from the original Linbury run, with the same cast that I saw: http://www.flickr.com/photos/dancetabs/sets/72157629484919275/detail/ My goodness, I see that it has embedded as a Slideshow - a bonus!
  • Create New...