So I am in the presence of a master manipulator of the hypothalamus – Noel Wallace – in a dance piece called HEEL at one of the most beautiful theatre’s in London, Wilton’s Music Hall. Noel made British ballet history as the first black dancer to join the English National Ballet but now he dances alone.

In his latest project Captured Wallace offers himself to twenty white artists to create work that focuses on power powerlessness and freedom . Heel is part of this project. Set to music by Nina Simone and Ry Cooder, mixed by Lee Walker, with projected images by Atomic Arts and lighting by Filippo de Capitani Heel is astounding.

I got the shivers twice at least and sat transfixed throughout. Wallace’s style is so unique: evocative emotive disciplined and definite. We were captivated, caught in his spell and cast out upon the dark moonlit seas of his consciousness . Afterwards the audience including Ian McKellen poured into the bar. I realised how great Noel is and how lucky I was to be there.

3 thoughts on “HEEL

  1. l saw Heel that night too. I will never forget it. Noel is one of the great artist's of the world. We are blessed to have him in this country. He is one of the people that make our creative industry great! But he isn't given his place in the higher art crowed.
    Could someone tell my why?

  2. Let's take Heel as an example to answer your question. Where is it now? Why isn't it on at Southbank or Sadlers Wells or The Place for a run. Noel needs REPRESENTATION so he can get on with creating. He needs a team or an organisation to sell him and his ideas, to cause noise around him. Look at his contemporary's – of which I can count on one hand – and you will see that representation and support is the difference between him and them. It's a sticky transition but once he has that relationship sorted he will then form a relationship with the “higher art crowd” and most importantly he will be supported. One lone funding application too many can lead an artist out of the market as much as into it. I am not saying he has done that but one of the great things about representation is that there is one person/organisation who can track your growth and so too the “market” and “the higher art crowd” whatever they may be. Lemn

  3. I can go on about the fickle nature of the arts afficianado's and self appointed spokespersons. I could talk about the gatekeepers and the sheep like flock. But that's boring. That won't change. I'd rather have conversation about what will strengthen his position than what weakens it.

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