Choreography and Direction by William Tuckett (Then & Now)

Choreography and Direction by Mthuthuzeli November (Nina: By Whatever Means)

All good things come to those who wait. And the audiences of Edinburgh have been patient in their appreciation and fervour for Ballet Black, who after a significant delay, return to the city at the Festival Theatre with their double-bill, Pioneers: produced as both an inspiration to the two works presented, and the those involved, and for the company’s continuing vision of Black and Asian dancers within the world of classical movement and ballet.

Igniting this evening of activism and tribute is a reprisal of Then Or Now, choreographed by William Tuckett. Set to the poetic words of Adrienne Rich, simultaneously capturing and swirling together the mundane with the extraordinary: from the lingering pangs of war, loss, and passion to the simplistic everyday humdrum and ritual. Almost intrusive, we seem to be at the rehearsals of the performance, enormous spot lamps framing the stage. The dancers gradually build into a layered, often gentle, movement which evolves into something more emotional and vaster than what precedes it.

Remarkably understated, Tuckett constructs Then or Now with pas de deux and ensemble sets. The lifts and flow of the piece build to a crescendo which, rather than erupting, slows itself into a more reserved solo. The entire piece is striking under the powerful spoken words of Rich, every so often countered with the sharpness of solo strings as the eight dancers capture the tone sublimely.

Composed of music by choreographer Mthuthuzeli November and Mandisi Dyantis, centred around the foundation of Nina Simone’s songs, Nina: By Whatever Means works as a staggeringly different yet similarly intentional piece alongside Tuckett’s choreography. What follows is a series of vignettes, based around the piano which plays a profound and intimate role in Simone’s story. Almost illustrative in movement, a young swaying Nina enraptured by the blossoming adoration of music, soon whisks into Gospel, lovers dancers in loosened harmony, and into the clubs and fevered nights.

Here the kerbed choreography mingles marvellously with the limited setting – such as the confined front room where Isabela Coracy (as Simone) dances with her jealous and abusive husband, played by Alexander Fadayrio. The energy contained within these isolating set pieces ricochets between the pair, ready to shatter the piano if not launched into the audience. Space is effectively limitless on this large stage, but the pair have no difficulties morphing their environment, putting these simplistic props and set dressings to devastating use.

There’s sublime storytelling occurring onstage – one which pushes the choreography into the theatrical, Coracy giving their entire being to the performance; raw emotion and power emboldened in her form, one of strength, pride, and vulnerability. And yes, while the piece is a passionate adoration and tribute to Simone’s music, it transcends the nature and purpose of the lyrics and tune; an ode not solely to the music, but to the intensity and driven determination to fend off injustices, to empower a global Black community and voice. By the final raised fist and scampering feet of bubbling energy, the pioneers are both in the past and the present, ready to embrace a future with movement at the core of it.

Over the course of its twenty-one years, Ballet Black has continuously produced pieces of importance, but Pioneers is something special. With the voices of two powerful women ringing through the night, this evening’s performances in Edinburgh were beyond question worth the wait: a cauldron of rage, passion, politics, and activism.