Boy Blue Entertainment’s Blak Whyte Gray – Review

“What is Blak Whyte Gray?” I hear you ask and “have you spelt it right?”. The answer to the latter is yes and to the first is as follows.

Blak Whyte Gray is the latest masterpiece to be added to the hip hop dance phenomena. Unfolding before your eyes on stage is a creative, well-choreographed hip hop dance production. Blak Whyte Gray offers an enchantingly, haunting, yet gritty and very powerful triple bill dance production.

Boy Blue Entertainment – the creative partnership of choreographer Kenrick Sandy and musician Michael Asante – have been impetus in the new wave of hip hop dance theatre for a number of years now.

The entertainment company, in bringing this ensemble of extraordinary theatre to the stage, give hip hop dance a mainstream platform. This then yields in turn an acceptance and freedom of expression that only this contemporary dance production exudes.

This particular dance theatre production was both riveting and engrossing. The content of the dance performances and the implications that follow are just some of the aspects that fill the show with mesmerising experiences. Whilst it may be difficult to follow at first, especially without the accompanying show programmes, what unfolds on stage is still captivating nonetheless.

Due to stunning performances of the dancers, the cinematic work of the choreographers, expressive costumes, vivid lighting and bewitching music, it is sure to be a popular modern and refreshing addition to the usual and typical theatre productions. Blak Whyte Gray forms as a perfect introduction for teens and young adult audiences and will draw in a new more diverse group of theatre goers.

The triple bill consisted of the ‘Whtye’ section of the performance. Very basic in stage layout but perfect accompanying light to a scene where the three dancers donned, what appeared like sleeveless white straitjackets. In almost claustrophobic performance, the first instalment highlighted the restraints of being in a system that isn’t working and refuses to change.  The choreography consisted of tight body-popping in a formation of soldiers who occasionally broke ranks.

The second part of the show, the ‘Gray’ section utilised all the dancers in the show. In slick, smooth and un-uniformed way, the dancers moved seamlessly and effortlessly across the stage in a way that was entrancing to watch.

The final part of the triple bill show, ‘Blak’ was by far the most visually stunning section of the show. Both the music, dancing and choreography was explicitly influenced by African tribal dance. A progression of movement from ‘Whyte’ to ‘Blak’ was thus seen. ‘Blak’ saw a more freedom, spirit and dynamism in movement.

The use of UV paint and fluorescent lighting, on both the dancers and the stage gave an edge of excitement to the performance. The injection of colour to what was previously a seemingly monotone stage palette was the perfect way to end such an enthralling show.

 TNT Arts & Culture

Photo Credit: HOMEMcr

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