Ballet Black, founded by Cassa Pancho in 2001, aims to provide dancers of Black and Asian descent with inspiring opportunities in Classical Ballet. It is an unfortunate fact that classical ballet companies continue to lack the diversity befitting the increasingly globalised world we live in. However, what with Michaela DePrince becoming a global ballet icon; with Ballet Black producing Triple Bills of newly choreographed classical ballet repertoire performed by technically masterful dancers – as they have with this current season – one can only hope that the dance world is finally starting to move in the right direction.

It is surprising to be confronted with an Arthur Pita work that is more abstract in intention than narrative and character based. In a departure from his signature theatricality (The Little Match Girl and God’s Garden spring to mind) Cristaux for Ballet Black conceptually explores the simplistic beauty of crystals and their ability to reflect and refract light. The work is a duet between a male and female dancer, the former dressed plainly, the latter adorned and appearing to represent the precious stone itself. The movement is at times staccato, which is reminiscent of the refracting abilities of cut stones. The dancers perform the work with an ethereal quality befitting the mesmeric nature of the piece’s mesmeric stimulus, however at times one questions the intellectual relevance of the stock pas de deux sequences they execute. However, it could also be argued that the purity of classical ballet, with its clear cut lines, is the perfect medium to explore the characteristics of invaluable jewels. Furthermore, the musical accompaniment of Steve Reich’s Drumming Part III (1971) couldn’t be more suitable for this piece if there was a crystalline equivalent of Rihanna’s Shine Bright Like a Diamond. Its repetitive notes on the glockenspiel and piccolo are a direct translation of the shimmering gems on the female dancer’s costume in to musical form.

In stark contrast to Pita’s exacting clarity, Christopher Marney’s To Begin, Begin lacks a coherence of intention and narrative structure. His piece is described as deriving from the music from a film, which was used for an animation in which you see a man falling from the sky in slow motion… or something like that. It is unclear how Marney got from this starting point to a work that displays a series of duets each exploring the concept of relationships in the broadest possible sense. One duo conveys sorrowful emotions, another a carefree light-heartedness and a concluding trio is difficult to decipher. Despite this incoherent dramaturgy the choreography holds moments of beautiful musicality, and the manipulation of a large sheet of purple fabric cleverly facilitates creative transitions.

The evening concludes with a very different feel, as Christopher Hampson’s theatrical Storyville takes to the stage. Premiered in 2010, Storyville was inspired by the red light district of New Orleans, and the stories of the people it was populated by. Hampson fashions a narrative that follows protagonist Nola -who falls into a life as a dancehall host – as she struggles to choose between her lover and her controlling superiors Lulu White and Mack. Much of the logistics of telling this story is configured through plaques paraded across the stage, and also mimetic movement. Although the signage is at times humorous, it is slightly disappointing that Hampson feels he can’t convey his plot line purely through the power of dance. The plot itself is also lacking a believable structure. Nola falls in love with a young sailor upon first glance, and there is no context provided to their first meeting. Her lover also keeps leaving her repeatedly. Why? Why doesn’t he try and save her from her exploitative relationship with Lulu and Mack? What’s more, Nola becomes an alcoholic (which leads to her demise) after only one night of reluctant drinking. These flaws in the plot line and character development make it difficult to invest in the world and characters Hampson is trying to create onstage. However, elements that are very effective include the symbolic use of voodoo dolls and masks to metaphorically allude to Lulu and Mack’s manipulative tendencies, and also the selection of nostalgic, atmospheric accompaniment, which sets the scene better than any props or set.

Overall Ballet Black’s Triple Bill is an entertaining evening with a variety of works ranging from complete abstraction to uninhibited narrative. Whilst at times the choreographic intentions of some of the pieces lack clarity, the technical execution exhibited by the dancers is far from unclear. Their athletic, artistic and performative abilities combine together to create a cohesive company that is a pleasure to watch.

Ballet Black: Triple Bill is running at the Theatre Royal Stratford East until October 8.

Photo: Bill Cooper