Ballet BC Delivers Mixed Double Bill in London

In short, Ballet BC’s recent double bill in London brings together one outstanding performance and another that, while initially promising, loses its way. The dancers are, without a doubt, remarkable.

On the bright side, the company showcases some truly exceptional talent, particularly among the men. They embody the essence of Canadian choreographer Crystal Pite’s work, exuding vibrant energy and fluidity. One soloist, clad in flowing white, seems to dance as if he were weightless. Surrounding him are shadowy figures, their black, hooded forms both supporting and at times menacing. At times, they lift him as if floating him on unseen currents; other times, they create an eerie atmosphere, murmurings of Owen Belton’s haunting soundtrack amplifying the unsettling mood.

Pite has a unique knack for conveying visual concepts clearly. The contrasts—like black versus white, the individual pitted against groups—are expressed with great sensitivity through movement. According to her, these dark figures symbolize the mysteries of the universe and consciousness, though you don’t necessarily need to grasp that to appreciate the work. Her ability to craft a composition that’s mindful of the audience’s journey really stands out. The ethereal voices of composer Eric Whäutersle enhance the experience, creating a sense of closure with a cathartic finale that feels complete.

This level of compositional skill is something that Johann Inger’s work seems to struggle with. While lesser-known in the UK, his piece, inspired by Carmen, began on a lighter note. It taps into the human experience, weaving together music and folk dance that tug at the heartstrings and highlight life’s various rhythms and colors. The initial lively tone of the dance is engaging.

But then, somewhere along the way, it veers into excess. While a poignant a cappella moment is a welcome contrast, things start to get muddled. The dancers eventually flood the stage, showering it with confetti. It’s visually striking, yet the excessive drama can be distracting. And that heavy drone in the soundtrack? Honestly, it’s more of a distraction than anything else.

This double bill is showing at Sadler’s Wells in London until May 21st, with a tour scheduled until June 11th.