As the house lights go down, and our eyes adjust to the dark, a series of shadowy figures begin to creep through the auditorium. Dressed head to foot in black, they approach the edge of the stage and climb up. But although we can now see them, in every other way they remain invisible. The intent of this faceless throng is unknown, and as they sweep around the other dancers like whispers, it’s never clear whether their presence is malevolent or helpful. 

Inspired by dark matter, the mysterious substance that shapes the cosmos (but nobody fully understands how) and our own consciousness (which is equally mysterious), Frontier was created by Crystal Pite in 2008. Back then, it was made for Nederlands Dans Theater, and the work has a distinctly European feel. In fact, the whole company does. Although Canadian, Ballet BC (British Columbia) has strong ties to Europe via its current artistic director and many of the choreographers it works with. It’s an alchemy that leads to a delightful blend of North American spirit and imaginative, slightly off-kilter artistry. 

A prime example of which is Johan Inger’s Passing, through which the Swedish choreographer sets out to capture the true essence of life. We may see ourselves as unique, and Ballet BC’s superb dancers each radiate individuality, but ultimately our entrances and exits are much the same. To illustrate, a beleaguered dancer gives birth to all her colleagues during one of several humorous scenes Inger gifts the audience. By the end, black ash is swirling around the stage, everyone is dressed in flesh-coloured clothing and death inevitably beckons. In between, this colourfully clad community lives life to the full, laughing, singing, even tap dancing. We never know what’s coming next but, much like life, we should expect the unexpected.

Ballet BC are on tour until Wednesday 11 June; reviewed at Festival Theatre, Edinburgh; homepage picture by Luis Luque; picture above by Michael Slobodian.