{plgMFV}
Cassa Pancho's award-winning company Ballet Black’s latest (and perhaps shortest) tour stop at Artsdepot, North Finchley, was their final London performance of their Tenth Anniversary tour. First and foremost, the dancers must be congratulated for their perseverance, flexibility and strength throughout the evening. The company has undoubtedly acquired a large following over the past ten years, winning the UK Critics' Circle Award for Outstanding Company in 2010. Despite the programme selling out, it was disappointing to see a number of empty seats throughout the performance of such a celebratory and culturally diverse group of dancers - presumably a reflection on the venue's location rather than on the company itself.
The programme too conveyed diversity, yet the mixed bill was perhaps too much so - with the works covering a very broad spectrum while embodying what is known nationally as ten very successful years in the industry. Each piece might have arguably stood alone with a more impressive stance if it were shown alone, however the dancers must be commended for their vitality and strength behind each of the works performed. The musical scores accompanying much of the evening did little to emphasise the talents of any dancer: only during the narrative piece, Orpheus by Will Tuckett, did the score embody the movement in its entirety, and vice versa. The poignancy of the lovers was heartbreaking over the musical sorrow, emphasised through intense emotional qualities and character traits.
The critically-acclaimed Da Gamba by Welsh-Nigerian choreographer Henri Oguike displayed the dancers' fiery passion for their work yet did not appear to utilise their ability as much as he could have. Despite this, the clear technique and charisma of the dancers was constant, with exceptional display by Sayaka Ichikawa. Her demure expression enhanced the effortless poses she maintained with much strength – of course – yet her performance skills evoked much theatrical illusion. Shift by former New York City Ballet dancer Antonia Franceschi lacked cohesion in its indefinable concepts which were in fact visible, yet this was no reflection on the dancers' talents. Their versatility in adopting numerous styles was impressive, maintaining similar working relationships with each partner they danced with. Awe-inspiring lifts ultimately ‘lifted’ the piece for its audience, who were desperate to applaud and communicate their appreciation.
Ultimately, the celebration of ten years did not extend to the dancers who are an enormous credit to Ballet Black and from my position, deserved more in terms of the expanse of movement and how this was portrayed. Ballet Black is without a doubt an immensely talented and inspiring company, so one hopes that they can now put the past ten years behind them and look forward to an exciting future ahead of them.