Review: LEGACY, Royal Ballet and Opera

It’s interesting to consider that ballet began its development in the mid 16th century, however it wasn't until around 400 years later that BIPOC (American) dancers Maria Tallchief, Raven Wilkinson and Arthur Mitchell, first joined ballet companies. 

Of course the dialogue between ballet and race is much more complicated than the above sentence, yet no one can deny the weight and vacuum of a 400 year period lacking any representation. What Arthur Mitchell did with the founding of Dance Theatre of Harlem (DTH) in 1969 changed the landscape, but did mindsets alter at the same speed?

Fast forward to 2024 and the Royal Ballet and Opera continue to be an institution aiming to be part of a bigger dialogue, often acting as a platform for discussions about identity in dance to take place, be that on the stage through casting or in different environments that support the broader conversation.

Royal Ballet Principal Joseph Sissens, in collaboration with Royal Ballet Director Kevin O’Hare, presents Legacy during Black History Month; “an evening dedicated to Black and Brown ballet talent and honouring the artistry, brilliance and the profound contributions they have made to the dance world” in the Linbury Theatre for three performances.

The programme is jam-packed with 12 pieces ranging from Swan Lake to Alvin Ailey, Wayne McGregor and new commissions by Hannah Joseph and Arielle Smith. The dancers herald from the Royal Ballet, Birmingham Royal Ballet, English National Ballet, Alvin Ailey, Ballet Black, Staatsballett Berlin and London City Ballet. 

What Sissens and his contemporaries present is so much bigger than something one can offer in criticism. The takeaway notion of the whole night is talent - and this is a serious matter. Especially when considering that some people still struggle to be seen, let alone reach these levels with the goods to support it.

The calibre of dancers can't be questioned - some regulars on the London stage, others less so.

Céline Gittens of BRB proved her usual powerful, confident self in a range of repertoire. Isabela Coracy of Ballet Black gave a potent performance in the equally meaningful Eightfold: Strength by Hope Boykin, and then there was Leroy Mokgatle. Dancing in Reminiscence by Craig Davidson with Gregor Glocke, it's the first time I've seen Mokgatle live and they didn't disappoint. What an extraordinary dancer, with rich, expansive movement that never seems to end. Mokgatle's presence is a special one, no doubt.

Precious Adams danced in two works, and I'm always interested in her dancing. In Wheeldon’s This Bitter Earth she brought her usual, understated power to the proceedings but it was Junor Souza who took one to a more human place.

The RB talent also felt palpable, most keenly via Caspar Lench. Featuring in work by McGregor, Wheeldon and Robert Battle, Lench continues to make himself known through dancing that is easy, effervescent and skilled. Other burgeoning talent can be found in Emile Gooding and Blake Smith, both recent graduates of the Royal Ballet School with evident promise.

The choreographic surprise of the night was Ax² [Ax to the power of two], a world premiere by Hannah Joseph. Joseph only graduated from Rambert School of Ballet and Contemporary Dance last year, yet she's already offering work more sophisticatedly structured and language rich than some recent, mainstage commissions.

The work for four is stylish with equal parts substance. Joseph understands music and space, and - thankfully - seems more interested in moving the upper body rather than the zeitgeist endless whacking of legs-trope we see all too often. The arm movement lexicon is extensive and features engaging articulation of the fingers and joint manipulation. And witnessing Joseph dance in her own work, one can analyse the core intention of her language: a bound axis that allows for exploratory movement full of dynamic arrival. All packaged in an environment of determination. Very exciting stuff.

Sissens also made a smart move by including the work of his forefathers. And seeing Alvin Ailey's Revelations danced so well can never be underestimated. Especially the daring execution of Chalvar Monteiro. Literally wow.

In closing - one can only imagine the impact Legacy will have on young Black and Brown dancers/students who watched a performance. Those dancing will have had some limited reference to people who look like them as they trained, but I propose nothing to the scale of the programme and recognition of it that Sissens has curated. That’s evolution in the here and now - and it’s happening in genre and places that at one time, stood still in relation to the development of identity, representation and perhaps most importantly - integration. Onwards.

Legacy runs at the Linbury Theatre, Royal Ballet and Opera until 31 October

Main Image: Emile Gooding in Within the Golden Hour, Legacy © 2024 ROH. Photo credit: Andrej Uspenski

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