SHADOWS
Sadler’s Wells Theatre
★★★★
“A stupendous performance from a highly trained and fearless ensemble”
Not one, but two are the pieces that comprise Ballet Black’s show Shadows, each one with its own unique elements brought out by an ensemble that can only be described as extraordinary. Firstly, we have A Shadow Work, choreographed and directed by New York native Chanel DaSilva, followed by My Sister, The Serial Killer, adapted, choreographed and directed by Ballet Black’s own founder and artistic director Cassa Pancho.
Inspired by Carl Jung’s concept of the shadow self, DaSilva came across the technique of shadow work while going through her own journey with therapy. In her collaboration with Ballet Black, she creates work that focuses on the repressed aspects of the psyche and our ever changing relationship with them. She plays around with the idea of release, along with the inevitable freedom that comes when we acknowledge and accept parts of ourselves that have been rejected or deemed inappropriate.
The choreography is deeply rooted in the balance between classical elegance and refreshing dynamism. We have a dancer representing the conscious self, dressed in white, while the rest of the ensemble are dressed in black and represent all the traits and characteristics we’d rather were kept buried. There is striking individuality shining through the ensemble work and the highlight is the canons that keep the pacing exciting and edgy. The use of space is also well thought out, embracing both unison and separation and creating a living organism that beats and breathes in front of our very eyes
Natalie Pryce’s costumes are a combination of sheer tops and flowy bottoms; not particularly original, yet accentuating the detailed hand and feet movements and making the dancers seem like they float in the space. What really makes the performance pop is David Plater’s lighting design, which clearly distinguishes between the two sides of the self and plays around with clear-cut shapes and explosions of colour.
The second part of the evening, based on Oyinkan Braithwaite’s bestselling novel My Sister, The Serial Killer, heavily contrasts the first. Here we have a clear story, with specific characters, a plot and a more theatre-like quality. The scenes have a structure that resembles physical theatre, while the props and costumes also seem to become integral to the storytelling unlike A Shadow Work, where the only prop used was a box.
Korede is used to clean up her sister, Ayoola’s mess, quite literally. Ayoola kills one boyfriend after the other and Korede, though horrified, is always there to support her sister by making the body and the evidence go away. Things, however, change when Ayoola sets her eyes on the doctor with whom Korede is in love.
It’s an intriguing story, full of dark humour, smart use of the minimal set and clear characterisation through movement, especially between the two sisters. Korede is grounded and sharp, while Ayoola is like an eel, elusive and smooth. The scenes where Korede is surrounded by hooded figures, possibly manifesting the deterioration of her emotional stability, as she’s overcome with guilt, are particularly haunting and remind one of an elegant version of a zombie film.
David Plater’s red-heavy lighting design, along with Tom Harrold’s chilling score which combines strings with electronic beats, creates a disturbingly vivid atmosphere of murder and perversion. Without a doubt the catchier of the two pieces, but it seems to lack the originality of movement and emotional resonance of DaSilva’s piece.
A stupendous performance from a highly trained and fearless ensemble. Two visionary choreographers come together to create a magical double bill full of raw emotion, precision and a dive into the darker side of human nature.
SHADOWS
Sadler’s Wells Theatre
Reviewed on 26th November 2025
by Stephanie Christodoulidou
Photography by ASH
More reviews from Sadler’s Wells’ venues:
SHADOWS | 0 | November 2025
THE SNOWMAN | ★★★★ | November 2025
MARKING TIME | ★★★½ | November 2025
MIMI’S SHEBEEN | ★★★★ | October 2025
THE MACHINE OF HORIZONTAL DREAMS | ★★★ | October 2025
PRISM | ★★★★★ | October 2025
A DECADE IN MOTION | ★★★★★ | September 2025
SHAW VS CHEKHOV | ★★★ | August 2025
PEAKY BLINDERS: RAMBERT’S THE REDEMPTION OF THOMAS SHELBY | ★★★★ | August 2025
SINBAD THE SAILOR | ★★★★★ | July 2025
