As a preamble to the action, a poetic voiceover promised “What happens now, won’t happen again”, which is all very well but it had certainly happened before. In shows like The Ballerina Who Loved a B-Boy and StreetDance 3D – a film that is unforgettable for all the wrong reasons – a sub-genre is developing that combines the grace of ballet with the grit of hip-hop. It’s in the same milieu of love stories between a posh girl and a boy from the wrong side of the tracks, or of a West Side Story divide. And, it’s a global trend. The Ballerina Who Loved a B-Boy came from Seoul and now these Masters of Choreography have arrived all the way from Australia, stopping off in London as part of a world tour that continues through until next year. Incidentally, the Masters of Choreography tag is not a boast but named after the company’s co-founders, Jennifer and Milo Masters. Their three busy choreographers are Emma Vaiano (ballet), Phill Haddad (street) and Alexander Lima (hip-hop).
Although bouts of ballet and the key ingredients of street (b-boy, locking and popping) were prevalent, the show encompassed much more besides, with commercial, pop, disco, beat box, Stomp-style drumming, contemporary, gymnastic flik flaks, singing and humour all in the theatrical mix. It seems that Aussies have no truck with superstition and these thirteen performers – the programme aptly describes them as dance athletes – gave their all in two hours of hi-octane energy. There was little subtlety and a ballet master would certainly have some issues with inevitable rough edges around the classical technique, especially at this speed of delivery, but there is no denying that this was a show with pacy momentum, sassy sex appeal and a great sense of fun. If ballet in yellow, pink and peach bra tops is your thing, then look no further!
That said, the first act took awhile to get into its stride and an opening number, representing a contest between the ballet and street dancers, judged Strictly style with a number held aloft, didn’t particularly engage the audience despite the addition of Trocadero-style physical humour as the female ballet dancers were joined by Brodie Chesher sporting a pink tutu. When the opening act ended abruptly, the show thus far had been mostly disappointing but that was because the best was still to come. The post-interval opening medley of diverse dance numbers was to a tremendous soundtrack of vintage pop, from Michael Jackson to Earth, Wind and Fire and including what surely must be a world first in classical ballet being choreographed to Eminem. This roller-coaster ride of eclectic dance fusions to familiar songs was both seductive and infectious; a viral effect that brought the desired audience participation through hands clapping and feet tapping.
The group performed with permanent smiles and tight-knit unison and, although this was very much an ensemble show without featured soloists, some characters demanded attention. The aforementioned Chesher stalked the stage like a diva, lip-syncing for her life on Ru Paul’s Drag Race (a rival for Courtney Act?); Oriana Siew-Kim essayed a Vampira/Mistress of the Dark vibe with her fearsome death stare accompanying street movement that pulsed through her body like electric current; Taylor Diamond-Lord is an outstanding percussionist as well as an excellent b-boy, donning the crash helmet for some required head spins, and bashing the beat on anything from upturned plastic bins to the soles of his fellow performers’ feet.
Anyone on a mission for highbrow culture would be advised to steer clear, but if it’s an extravagant evening of non-stop dance athletics performed by an attractive and vivacious group of dance athletes, and preferably to be enjoyed, post-libation, with a handful of friends then this show will tick all the boxes. And, it is certainly preferable to a night in with StreetDance 3D!
