Ballet Black was founded in 2001 to provide dancers of Black and Asian descent with opportunities in classical ballet. Since then, the London-based company has more than fulfilled that ambition, said Sarah Crompton in The Observer – not least by commissioning some 70 new works. That is an “astonishing” feat, by a company that punches far “above its weight”.
Now, to mark its 25th anniversary, it has revived its Olivier-winning 2019 hit “Ingoma”, by the South African choreographer Mthuthuzeli November, a company alumnus, and paired it with “…all towards hope”, by the American choreographer Hope Boykin. “Ingoma”, about a strike in South Africa in 2012 when 34 miners were killed by police, is an intense and sophisticated work that “effectively conveys the suffering that is a part of resilience”. Boykin’s piece, an ode to togetherness, is “glorious” at times, but “struggles to sustain momentum”.
Boykin’s work opens this “crackingly good” double bill, said Sanjoy Roy in The Guardian. An abstract piece, with a jazzy score by Bill Laurance, it speaks (“often literally”, as Boykin reads her text) “of idealism, warmth, openness and community”, and I found it “entirely disarming”. With “an eloquence all its own”, the choreography blends neoclassical, contemporary and jazz dance to create “lovely skeins of motion: lines that ripple out and reform, sudden sprints that pull others into their tailwind, easy walks and heart-lifting sways that the dancers unaffectedly share with each other”. It’s celebratory, and very affecting.
“If Boykin’s piece shows off the company’s technical ability – and it does, to a great degree – November’s showcases the dancers’ impressive dramatic powers,” said Teresa Guerreiro in The Times.
The miners arrive on a crepuscular stage in boots and headlamps, their ensemble dances – “rhythmic stomping to driving percussion punctuated by voice calls” – taken directly from African tribal dances; but we also feel the impact on their families. The piece starts with a passionate duet, in which the wife of a miner (Isabela Coracy) clings to her husband (Ebony Thomas) as if for the last time. “It’s an emotional, heartfelt work.”
Lowry Theatre, Salford, from 14 April, then touring to 9 July
For its 25th anniversary, the company shows off both its ‘technical ability’ and the dancers’ ‘impressive dramatic powers’
