When a dance company can make you forget to blink, you know they’ve done something extraordinary. Ballet BC’s recent double bill at Sadler’s Wells—featuring *Frontier* and *PASSING*—was exactly that: a hypnotic collision of horror, comedy, and sheer physical brilliance.
### **Frontier: A Dance of Duality**
Choreographed by Medhi Walerski, *Frontier* is a study in contrasts—structured chaos, delicate aggression. The dancers move with razor-sharp precision, yet there’s an underlying wildness, as if they’re constantly on the verge of breaking free from their own control. The Guardian called it "fizzing energy," and they weren’t wrong. Every leap, every twist feels charged with electricity, like watching lightning strike in slow motion.
### **PASSING: Where Horror Meets Humor**
If *Frontier* is the storm, *PASSING* is the eerie calm before it. This piece, also by Walerski, blends unsettling imagery with moments of unexpected levity. The Times nailed it by describing the work as "horror and comedy in a classy Canadian double bill." There’s something deeply human about the way Ballet BC’s dancers embody both the grotesque and the graceful—sometimes in the same breath.
### **Why Ballet BC Stands Out**
What makes this company so magnetic? It’s their ability to strip dance down to its rawest form. There’s no pretense, no unnecessary frills—just pure, unfiltered movement. As BroadwayWorld put it, the double bill was "a visceral experience," and that’s exactly what dance should be: something that bypasses the brain and goes straight for the gut.
### **Final Thoughts**
Ballet BC doesn’t just perform; they *possess* the stage. Whether you’re a longtime dance fan or a newcomer, their work is a reminder of why live performance still matters. It’s not just about steps—it’s about feeling something real.
If you get the chance to see them, take it. And if you don’t? Well, let’s hope they tour again soon. The world needs more of this kind of magic.
— *DanceWAMI*
