Review: BALLET BLACK: SHADOWS, Birmingham Rep - Tour
Photo credit: ASH
Ballet Black have once again proven themselves to be a tour de force in the world of dance, pushing the boundaries of creativity, and Shadows is no exception. The production consists of two acts that, while starkly different, complement one another beautifully as they explore darkness and illuminate the shadows, both of which are expertly enhanced by David Plater's ingenious lighting design. The bare black stage of the Birmingham REP sets the tone from the outset, greeting the audience with a solitary spotlight on the Ballet Black logo, leaving the stage itself cloaked in mystery and haze.
The first act, SHADOW WORK, is an exploration of director and choreographer Chanel DaSilva's emotional journey of healing. Taraja Hudson commands the stage, appearing in white and becoming the focal point of this more abstract and conceptual piece. Her athleticism and skill are allowed to shine as she dodges, weaves, and runs away from the shadows that seem to haunt her. At times, we feel almost deprived of her elegant lines as she observes the shadows encroaching upon her.
Hudson shares several beautifully synced duets with head shadow Acaoã de Castro, whose movements are a graceful contrast to the oppressive presence of the shadows, all of whom are dressed in translucent black. The costuming by Natalie Price is a masterstroke, adding to the eerie atmosphere to the choreography, which intensifies the piece's emotional impact. This expert design, combined with the often chilling smiles and movements, captivates the imagination and keeps the audience engaged in the unfolding tension.
The second act is a thrilling interpretation of Oyinkan Braithwaite's best-selling novel My Sister, The Serial Killer. Directed and choreographed by Cassa Pancho, this adaptation for the stage is a mesmerising exploration of family loyalty, moral conflict, and dark humour. The production shines with the work of a talented ensemble cast, including Charlotte Broom, Isabela Coracy, Acaoã de Castro, Megan Chiu, Taraja Hudson, Mikayla Isaacs, Love Kotiya, Bhungane Mehlomakulu, Helga Paris-Morales, Elijah Peterkin, Ruby Runham, and Ebony Thomas, all contributing choreography, making this a true team effort.
In the story, Korede (Isabela Coracy) receives a distress call from her sister Ayoola (Helga Paris-Morales), who has once again killed her boyfriend "in self-defence." As Korede is forced to clean up her sister's mess, her sense of duty to family comes into conflict with her growing disillusionment. The tension escalates when Ayoola begins dating the doctor (Ebony Thomas) that Korede secretly loves, pushing Korede to make a heart-wrenching choice between saving him or betraying her sister.
The finale, My Sister, The Serial Killer, is explosive, with breathtaking moments that leave a lasting impression. The costumes by Jessica Cabassa are sheer brilliance, particularly the transformation of the ensemble into waves, creating an ocean in which the sisters dispose of a body — a truly stunning visual.
While Act One may prove somewhat challenging for those less familiar with conceptual dance, Act Two is a veritable feast for the senses, providing a thrilling and accessible narrative. Shadows is a remarkable production that is not to be missed.
***** Five stars
Reviewed by: Alanna Boden