"Five young Black women choreographers came together for two evenings of Draft Works marking The Royal Ballet's association with Black History Month; and the first thing to note is the sheer abundance of ideas on show. That, and the obvious talent of these young women, most of them barely past 20-years-old. In his introduction, Royal Ballet Principal Marcelino Sambe, who curated the programme, described the women's voices as simultaneously powerful and vulnerable, adding that, in his view, they were the future of dance."
"A piece for eight dancers, performed with tremendous panache by Myles Stewart's colleagues from the lower ranks of The Royal Ballet, its language was that of classical ballet pure lines, rounded port de bras the movement soft and elastic, ensemble sequences alternating with lofty duets. Katie Robertson in Rebecca Myles Stewart's In Ascendance 2025 Ian Hippolyte American-born Myles Stewart joined the company last season straight out school; yet she shows a very mature awareness of space and how to make bodies flow within in."
Five young Black women choreographers assembled for two evenings of Draft Works at The Royal Ballet during Black History Month, presenting an abundance of ideas and evident talent. Marcelino Sambe curated the programme and described the choreographers' voices as powerful and vulnerable and as the future of dance. All five pieces showed promise despite imperfections. Rebecca Myles Stewart's In Ascendance, performed by eight dancers from the company's lower ranks, employed classical ballet vocabulary, soft elastic movement, ensemble sequences and duets, and conveyed emotional spirituality by setting Marian Anderson's Deep River and Leontyne Price singing Schubert's Ave Maria. Blue Makwana's Grey Picket Fence remained a developing piece of dance theatre.
Read at www.london-unattached.com
Unable to calculate read time
Collection
[
|
...
]