What Are The Ingredients Of A Good Performance?
This question popped into the mind of Samrana Hussain after she attended a performance by Ballet Black at the Stanley & Audrey Burton Theatre in Leeds. Does tried and tested technique always trump sumptuous style, or is it perfect balance of poise and the perfect pointe? …
Having tried my hand at various styles of dancing from reggaeton right through to Salsa, Thursday night’s performance made me realise just how subjective the answer is. Discussing the performance with my companion after the show, we were at complete odds over which half we preferred.
For me the street dance infused ballet, in the first half, underscored by African drum beats, hit the right note. Whereas my friend preferred the simplicity of the second half’s ‘War letters’ routine, which displayed a more traditional style underlined by a stronger thematic narrative. But that’s the beauty of creative arts, no one is right or wrong; there’s just a myriad shades of grey.
The bodies of the Ballet Black dancers shone strong and displayed a litheness I’ve only ever seen in Olympic athletes. It’s no surprise their dancing displayed a certain strength, power and, without sounding cliché, soul.
Dancers floated around the bare darkened stage in purple cloths, holding hands and moving together like waves drifting across the ocean. A golden hue bathed the soloist, conveying a sense of sadness and pathos as she danced her solitary routine.
In the second half the dancers were no less polished and assured. With bright swing dresses from the ‘40s and soldiers dressed in vibrant green uniforms, ‘War Letters’ fizzes with energy and sadness. Retelling five stories, choreographer Christopher Marney takes the audience on a rollercoaster of emotions; from a soldier haunted by the memories of his fiancée right through to women willing the return of their husbands, even if it’s only for one last dance.
The fusion of international talent from Rio through to Japan highlights the importance of diversity in the highly creative dance world. And I applaud half Trinidadian, half British, Cassa Pancho for her efforts to push open doors for dancers of Asian and black descent with Ballet Black, which she founded 12 years ago. In the words of the elderly gentleman sat next to us, watching the performance for the second day running, “there’s something about the dancers, it’s just beautiful”.