Tag Archives: Scottish Ballet

NEWS: Scottish Ballet Announces 50th Anniversary Season

Cabinet Secretary for Culture, Tourism and External Affairs Fiona Hyslop and Scottish Ballet’s CEO/Artistic Director Christopher Hampson have revealed the spirited and ambitious programme for the company’s 2019/2020 season, including three world premieres. Founded in 1969, Scotland’s national dance company celebrates 50 years of inspiring audiences on stage and beyond in 2019, with a creative vision crafted by Scotland.

SPRING
A first for 2019, the company will launch their 50th season in the Highlands. There will be a celebratory opening of the double bill Spring! at Inverness’ Eden Court on Thursday 28 March, followed by a party everyone in the audience is invited to!

Dextera is a world premiere of a new work by Scottish Ballet Resident Choreographer Sophie Laplane, with music by Mozart performed by the Scottish Ballet Orchestra. Sir Kenneth MacMillan’s 35-minute long antidote to blues, Elite Syncopations, forms the second part of the bill with its virtuoso heights of sexy, witty psychedelia and frothy ragtime nonchalance. MacMillan’s choreography spans the decades, melding 1920s social dances with classical ballet and uses music from ragtime composers, including Scott Joplin, as a perfect accompaniment.
Following three dates in Inverness, Spring! will tour to Glasgow, Aberdeen and Edinburgh in April and May 2019.

DIGITAL SEASON

After an award-winning inaugural presentation in 2017, the Digital Season returns for a month-long programme of work featuring short films, live streams, virtual reality experiences and digitally driven projects to enhance, alter and inform the way we experience dance. Existing in a society where the real and unreal are one in the same, and Artificial Intelligence has developed its own human nature, the Digital Season explores our grasp of reality, identity, and transformation.

As the company’s first Digital Artist in Residence, Zachary Eastwood-Bloom will work from within Scottish Ballet to create bespoke artworks for the Digital Season and beyond. A Glasgow-based sculptor, Zachary uses digital technologies such as 3D scanning, digital 3D modelling and 3D printing to transform traditional sculptural materials such as bronze, marble and ceramic.

SUMMER/AUTUMN

Arthur Miller’s masterpiece of power and persecution, The Crucible is transformed into a gripping new ballet with choreography by Helen Pickett and a haunting new musical score from Peter Salem, performed live by the Scottish Ballet Orchestra. The ballet will receive its world premiere at Edinburgh International Festival, opening the dance programme in 2019. The ballet will then tour to Glasgow, Aberdeen and Inverness in September and October 2019.

Image: Nicola Selby

WINTER

Fans of Hans Christian Andersen’s much-loved tale – which also inspired Frozen – will be delighted at the announcement of The Snow Queen as Scottish Ballet’s glittering winter show. With a specially adapted score from works by Rimsky Korsakov this spectacular world premiere is an inspiring story of love and friendship, driven by three central female characters. Choreographed by the company’s CEO/Artistic Director Christopher Hampson and designed by award-winning Lez Brotherston, The Snow Queen will join Scottish Ballet’s highly popular family repertoire and tour to Glasgow, Aberdeen, Inverness and Newcastle following an opening at Edinburgh’s Festival Theatre on Saturday 7 December 2019. The performances will be accompanied by an extensive community engagement programme in schools and care homes across Scotland.

Image: Nicola Selby

MAKE A WISH!

For 50 years Scottish Ballet has been crafted by Scotland – by the people, the tradition, the sense of humour, the generosity and the spirit. As a way of saying thank you to the whole country, Scottish Ballet is inviting the people of Scotland to Make a Wish! It can be anything from the dancers performing at a birthday party or on the banks of Loch Ness, or even the chance to get on stage and be part of a Scottish Ballet show. The public are encouraged to submit their wishes at scottishballet.co.uk/wish and, following a public vote and the consideration of the judging panel including Susan Calman, Fred MacAulay, Dame Darcey Bussell, Christopher Hampson, Janice Forsyth and Principal Dancer Christopher Harrison, Scottish Ballet will make five wishes come true throughout 2019.

FIVE IN FIVE

A dance company lives by its ability to produce adventurous, relevant and entertaining work and Scottish Ballet recognises that investing in new repertoire is crucial in being able to sustain excellence. Therefore, in an ambitious new commissioning programme called Five in Five, Scottish Ballet will commission and stage five new full-length ballets over five years; one for every decade of the company’s history. Presenting new work will encourage the Company’s existing audiences to keep returning and new audiences to try something different. This will also reinforce Scottish Ballet as one of the most daring and pioneering dance companies. The world premieres of The Crucible and The Snow Queen will be the first two of the five new commissions. In total, the company seeks to raise £5 million over five years to deliver these five new productions and associated access and engagement programmes.

Cabinet Secretary for Culture, Tourism and External Affairs, Fiona Hyslop said:
‘As Scotland’s national dance company, Scottish Ballet makes an extraordinary contribution to our cultural landscape, on stage and beyond. Scottish Ballet showcases our nation’s creative spirit at its highest level to local and international audiences, while also delivering some excellent work with health and education partners to communities across Scotland. I am pleased to celebrate the company’s 50th anniversary and look forward to seeing this exciting programme of activity in 2019.’
CEO/Artistic Director of Scottish Ballet, Christopher Hampson said:
‘Scottish Ballet forged new ground in 1969, and we continue to promote Scotland’s pioneering spirit in everything that we do. We embrace our 50th anniversary with an unprecedented programme of new work, affirming our commitment to be one of the most daring dance companies in the world.’

Dame Darcey Bussell said:
I am excited to be on the judging panel for Scottish Ballet’s Make A Wish campaign to help share the magic of ballet with people across Scotland in the company’s 50th year. I look forward to seeing lots of wonderful wish ideas and am sure there will be some really personal and imaginative ones for us to choose from.’

James MacKenzie-Blackman, Chief Executive of Eden Court, Inverness, said:
‘Audiences from across the Highlands and Islands travel from far and wide to see Scottish Ballet in Inverness, and we are thrilled and honoured that the company has chosen to open their milestone 50th anniversary season at Eden Court. Together, we will be hosting an opening night party for artists and audiences to mark our special partnership and recognise the critical contribution our organisations make to creativity across the Highlands and Islands.’

Edinburgh International Festival Director Fergus Linehan said:
‘Scottish Ballet has been inspiring audiences at the International Festival with unforgettable performances since the 1970s and we’re thrilled to welcome back the company as it celebrates 50 years. It’s especially exciting to open our 2019 dance programme together with a premiere of this scale and scope and we look forward to sharing The Crucible with audiences from all over the world’.

Choreographer of The Crucible, Helen Pickett said:
It has been an incredible collaborative process working with Scottish Ballet to bring my vison of Arthur Miller’s play to the stage. I am working with an exceptional creative team, Peter Salem, James Bonas, Emma Kingsbury and David Finn, and together we have translated this iconic drama into the powerful medium of dance. We are honoured to present The Crucible at the Edinburgh International Festival among the very best arts companies in the world.’

Resident Choreographer, and Creator of Dextera, Sophie Laplane said:
‘Having immersed myself within Scottish Ballet as a dancer and resident choreographer, I wanted to embody the company’s creativity and hard work by kickstarting their anniversary season with an energetic new piece that celebrates the company’s craft. I’m excited to work with Scottish Ballet Orchestra to score Dextera to Mozart, to form a vibrant body of work as part of the Spring! double bill.’

Digital Artist in Residence, Zachary Eastwood-Bloom said:
‘This digital residency allows me to delve deeply into a world of new ideas and approaches that I have been itching to develop. Using digital technologies such as 3D scanning and Motion Capture, I will explore bodily movement and the space between dancers through a range of media. Scottish Ballet is a very rich and exciting environment to work in and I think the Digital Season will reflect that.’

Priority booking for all productions for Friends of Scottish Ballet are available from Wednesday 10 October.
Public on-sale from Monday 22 October, with tickets for The Crucible dates at Edinburgh International Festival available after the Festival’s programme launch in March 2019.

Spring!

To kickstart their 50th anniversary year, Scottish Ballet presents a fresh double bill fizzing with energy and guaranteed to send you home smiling. Resident choreographer Sophie Laplane will premiere her latest work, Dextera. Her trademark edgy style promises a tour de force of creative ideas, set to the music of Mozart. Sir Kenneth MacMillan’s Elite Syncopations is an irresistible carnival of colourful characters. This much-loved whirl of 1920s dance hall glitz is set to a series of Scott Joplin’s tunes, performed live by an onstage ragtime band.

Eden Court, Inverness: 28-30 March

Theatre Royal, Glasgow: 4-6 April

His Majesty’s Theatre, Aberdeen: 11-13 April

Festival Theatre, Edinburgh: 2-4 May

The Crucible

Arthur Miller’s drama of power and persecution.

The village of Salem stands on the brink. A teenage girl imagines her future. A marriage is tested. Church bells ring, uniting the community in prayer. These are good people; this could be anywhere. They fear the shadows in the forest, but the real monsters are much closer to home. You’ll be on the edge of your seat watching this tight-knit society unravel into chaos. Ask yourself: when everything is in the balance, what are you prepared to pay for the truth? Helen Pickett’s choreography unleashes the emotional force of Miller’s masterpiece, vividly accompanied by the Scottish Ballet Orchestra performing Peter Salem’s haunting new score.

Edinburgh International Festival in August 2019. (On sale dates announced in March 2019)

Theatre Royal, Glasgow: 26-28 September

His Majesty’s Theatre, Aberdeen: 3-5 October

Eden Court, Inverness: 9-10 October

The Snow Queen

Scottish Ballet’s 50th year will come to a spectacular close with the world premiere of The Snow Queen. Inspired by Hans Christian Andersen’s much-loved tale – which was also the basis for Frozen – this glittering new production will be set to the music of Rimsky-Korsakov, performed live by the Scottish Ballet Orchestra. Choreographed by Christopher Hampson and designed by the award-winning Lez Brotherston, this story of love and friendship is sure to delight the whole family.

Festival Theatre, Edinburgh: 7-29 December

Theatre Royal, Glasgow: 3-19 January 2020

His Majesty’s Theatre, Aberdeen: 22-26 January 2020

Eden Court, Inverness: 29 January – 2 February 2020
Theatre Royal, Newcastle (On sale dates announced in 2019)

FROM THE ARCHIVES: Behind the Scenes as Scottish Ballet stage Matthew Bourne’s Highland Fling

Back in 2013, GTB was invited to breakfast with Scottish Ballet as they went through their morning class before the matinee and evening performances of Matthew Bourne’s innovative take on La Sylphide Highland Fling.

Here, from the archives are some rehearsal videos and behind the scenes shots of this hard-working (6 days a week!) company. Excuse the ropey camera phone video quality. Such a fabulous show – set in Glasgow – it deserves another moment in the spotlight.

Sex and drugs and rock ‘n’ roll is not the usual tag line for a Scottish Ballet production but Matthew Bourne could never be accused of being your usual choreographer and Scottish Ballet continue to cement their reputation as a company with a clear artistic vision, breaking new ground by introducing  innovative modern works alongside their vast classical repertoire.

This piece marks the first time Matthew Bourne has ever allowed another company to perform one of his works, such is his control over his artistic vision. That said, the two seemed destined to come together, Bourne’s Glasgow-set ballet finally coming home to the city and Scotland’s national ballet company.

Inspired by the classic romantic work La Sylphide, Highland Fling  is an imaginative re-working by Bourne with his usual wry twist and trademark eye for detail.

Highland Fling follows the story of James, a restless young Glaswegian recently married to his devoted girlfriend Effie, but James’ addiction to excess and desire to break free of  the restrictions and expectations  placed on him by his environment finds him in the fateful company of a beguiling gothic fairy.  As his love for the strange and beautiful sylph becomes an obsession, he embarks on a fateful journey that takes him from the mean streets and nightclubs of Glasgow into a magical world beyond reality and reason.

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As our (anti)hero staggers on-set and slumps to the floor against a urinal in the toilet of a Glasgow nightclub we are in no doubt that this isn’t going to be your usual ballet, but what really sets it apart, along with all of Bourne’s work, is the stunning complexity and intricacy of the choreography and the sharpness and accuracy with which it is executed. Owen Thorne’s performance as James is a testament to Bourne’s particular method of working: this is a character with a history, a back-story and Thorne manages to deliver the choreography whilst perfectly conveying the conflicted Glaswegian tough-guy persona underneath. Bethany Kingsley-Garner as the sylph is utterly other-worldly, beautifully conveying this bewitching creature from another realm. Both are ably supported by an ensemble of characters instantly recognisable to any city dweller.

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Lez Brotherston’s set design is a character in itself. It has more tartan than a tin of shortbread, delivering a technicolour assault to the senses, but looking beyond the obvious, witty nods to the best and worst of Caledonia abound. Brotherston also manages to perfectly evoke the eerie world of the sylphs nestled amongst the debris and detritus of a wasteland in the shadow of the Glasgow highrises.

Matthew Bourne's Highland Fling, performed by the Scottish Ballet

Part of the beauty of this cautionary tale is its brevity, at just over 95 minutes it packs a visual and emotional punch that leaves you reeling and begging for more.

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FEATURE: NARS team up with Scottish Ballet for David Dawson’s innovative Swan Lake

In preparation for their innovative production of David Dawson’s Swan Lake, Scottish Ballet in partnership with NARS makeup invited some guests for a behind the scenes glimpse of the creation of the work which receives its world premiere this month.

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Sophie Martin in rehearsal for David Dawson’s Swan Lake Image: Christina Reilly

David Dawson is a choreographer in demand throughout the world, and his work has been described as visceral and daring, always pushing dancers to their limits, challenging and extending the realms of classical technique. In the rehearsal room Dawson’s infinite eye for detail is clearly apparent, striving for perfection, making minute corrections to ensure his creative vision is represented on stage. Expect strength, darkness and precision as well as lyrical beauty when it premieres at the Theatre Royal.

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Constance Devernay in rehearsal for David Dawson’s Swan Lake. Image: Christina Riley

From the rehearsal room to makeup; the creative artists at NARS have been challenged with creating the dual looks for the infamous black and white swans Odette and Odile. Dawson’s Swan Lake is more naturalistic and the makeup look reflects this, an easily wearable day look for Odette with a nude lip and with the mere change to a strong red lip colour – the dramatic look of Odile. The looks created are also durable and easily recreatable.

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To achieve this stunning change for yourself the NARS Velvet Matte Lip Pencil’s used were: Belle de Jour a flattering universal nude tone and Cruella a vibrant, classic red.

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NARS Belle de Jour

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NARS Cruella

The NARS counter in Frasers Department Store Glasgow offers comprehensive skin care and make up advice. Find out more here.

Scottish Ballet’s Swan Lake is at the Theatre Royal from Tuesday 19 – Saturday 23 Apr 2016, for more information, see Scottish Ballet’s own website. To book tickets see the Theatre Royal’s box office on 0844 871 7647.

 

REVIEW: Cinderella, Scottish Ballet – Theatre Royal, Glasgow

Christopher Hampson’s production, originally created for the Royal New Zealand Ballet, finally arrived in Glasgow this month after a European premiere and a festive stint in our capital city. Set to Prokofiev’s 1945 score and on Tracy Grant Lord’s grand set, it faithfully follows Charles Perrault’s much-loved, rags to riches story as we know it.

Whilst there is much to admire here, the complex choreography will delight ballet aficionados and the dancers largely deliver their roles with aplomb, the nearly two and half hour running time and the lack of visual ‘sparkle’ leaves it lacking that certain something that makes for a truly spectacular festive ballet treat, and the tiny audience members (of whom there were many) were wriggling and restless by the end.

Bethany Kingsley-Garner as the titular heroine is a divine dancer, but her fixed expression lacks the range of emotion the character requires. Christopher Harrison, usually a sure-footed and assured performer, suffered from some serious wobbles as the Prince and again the lack of emotion left one feeling cold. Most successful are Eve Mutso and Sophie Martin as the ‘wicked’ step-sisters, the pair are an absolute delight and their acting skills admirable (the company will feel the loss of Mutso greatly as she leaves to pursue a career as a freelance dancer/choreographer after this tour). This is a company with undoubtedly talented dancers, but one can’t help feel that they are lacking somewhat in the acting/emotion department.

Richard Honner and the Scottish Ballet Orchestra are on fine form and the sound throughout is sumptuous. This is a thoroughly entertaining production, with some real highlights but one can’t help feeling it could have been so much more.

Image: Andy Ross/ Scottish Ballet

REVIEW: Scottish Ballet Autumn Season – Maze, Motion of Displacement and Elsa Canasta – Theatre Royal, Glasgow

As a signal of intent, Scottish Ballet has started their new season with a bang with a world and a UK premier in one evening.

Those seeking tutus and pointe shoes may be disappointed, but this thoroughly modern trio of works is a refreshing move towards the future.

Opening with the unbilled Maze by company member Sophie Laplane, the innovative, original and hypnotic work is an intriguing exploration of the forms a body in motion can take. The male duos bristle with jagged, spiky, angular jabs, the female duos popping, fizzing and crackling with electricity. This arresting and visually compelling work looks set to assure Laplane’s career long after she’s hung up her pointe shoes.

New York choreographer Bryan Arias’ Motion of Displacement is an emotional response to the choreographer’s mother’s experience of leaving her homeland in pursuit of a better life. It is more free-form poem than linear narrative and hints at both the strength and heartbreak experienced on Senora Arias’ journey. At times, it is stunningly beautiful – the chain of dancers at the start and end delicately intertwined is stunning, but for all the glorious individual sequences there is a lack of drive and emotionally it feels very similar throughout.

As the old adage says: “save the best for last”, multi-talented (Turner Prize nominated, West End Musical choreographing, Olivier and Critics Circle Award-winning, music videos and ballet creating with the Pet Shop Boys) Javier de Frutos’ Elsa Canasta is a witty and wonderful winner.

Combining the music of the legendary Cole Porter with de Frutos’ entertaining and inventive choreography, and fairy-dusted with the glorious singing of Nick Holder, this is a crowd-pleaser from start to end. As the vocalist reminisces on the heady days of the 20s and 30s, he reflects on the experiences he has lived through, the choices made and roads not travelled. Re-worked from his original piece for Rambert, the characters have been expanded by de Frutos and the balance of genders redefined.

There is so much to see here, glorious little sequences spring up all around the stage, it is sexy, sassy and a joy to watch. Particularly effective are the poignant and powerful male-male duet between Victor Zarallo and Thomas Edwards and the all-too-familiar boyfriend/girlfriend scuffle between the always entertaining Erik Cavallari and Sophie Martin.

As an opening to the new season – a crowd-pleasing triumph that leaves you wanting more.

Image credit: Andy Ross

Nick Holder and the dancers of Scottish Ballet in Javier de Frutos’ Elsa Canasta

FEATURE: Scottish Ballet… in rehearsal

Scottish Ballet present their Autumn season this week, featuring work by two of the world’s most highly regarded and original choreographers.

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Javier de Frutos with Company dancers in rehearsals for Elsa Canasta. Photo by Christina Riley

Elsa Canasta is a dark, funny and sexy evocation of the music of Cole Porter. With a touch of music hall magic, a singer who will share the stage and breathtaking partnering, the Scottish Ballet dancers will be having a ball. Choreographed by Javier de Frutos, a unique figure in the world of dance with a résumé that includes West End musicals, a Turner Prize nomination, Olivier and Critics’ Circle National Dance Awards, music videos and a full-length ballet in collaboration with the Pet Shop Boys.

Also on the bill will be Motion of Displacement by Bryan Arias, winner of the 6th Copenhagen International Choreography Competition in 2013. Arias is a young American choreographer at the start of an exciting career that is sure to propel him to the heights of his profession, Scottish Ballet is the first company to bring his unique blend of dance styles to the UK.

An exclusive commission from Scottish Ballet, Motion of Displacement will explore the causes and effects of storytelling, inspired by his own childhood memories of his mother’s journey from her native land in pursuit of love.

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Scottish Ballet dancers in rehearsals for Javier de Frutos’ Elsa Canasta. Photo by Christina Riley.

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Constant Vigier in rehearsals for Javier de Frutos’ Elsa Canasta. Photo by Christina Riley.

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Eve Mutso in rehearsals for Javier de Frutos’ Elsa Canasta. Photo by Christina Riley.

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Andrew Peasgood and Constant Vigier with Rehearsal Director Hope Muir in rehearsals for Javier de Frutos’ Elsa Canasta. Photo by Christina Riley.

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Victor Zarallo and Thomas Edwards in rehearsals for Javier de Frutos’ Elsa Canasta. Photo by Christina Riley.

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Javier de Frutos in rehearsals for Elsa Canasta. Photo by Christina Riley.

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Constance Devernay with Rimbaud Patron in rehearsals for Javier de Frutos’ Elsa Canasta. Photo by Christina Riley.

 

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Shoes in the Peter Darrell Studio. Photo by Christina Riley.

For ticket information visit: http://www.atgtickets.com/shows/elsa-canasta-and-new-work/theatre-royal-glasgow/

Pictures © Scottish Ballet 0141 333 1092

REVIEW: 5 Tangos – Tramway, Glasgow

Hans Van Manen’s 1977 work 5 Tangos has been revived by Scottish Ballet for the inaugural Dance International Glasgow (DIG) festival.

Characterised by its precision and above all by its exquisite symmetry, this fusion of classical ballet technique and Argentine tango is an audience friendly crowd-pleaser from a choreographer renowned as a pioneer of ‘modern’ ballet.

Nuevo tango master Ástor Piazzolla’s score provides an atmospheric soundtrack on which the step-perfect action plays out: the dancers tracing mesmerising geometric patterns across the vast floor of Tramway. If any criticism is to be levelled at the piece it is that it robs the tango of its dangerous sexiness, this work is more playful than passionate. That said there is much here to delight the audience in this hugely entertaining work and it is delivered throughout with an impressive energy, drive and precision.

A poignant and somewhat fitting footnote to 5 Tangos is that it sees Argentinian dancer Luciana Ravizzi leave the company after 13 years, which she does with an exquisite grace in her principal role.

Reviewed on Fri 24 Apr 2015 as part of Dance International Glasgow

This review was originally written for and published by www.thepublicreviews.com

REVIEW: Marc Brew – Exalt, Tramway, Glasgow

In this world premiere of Exalt, Marc Brew has created an exceptionally emotive, eloquently choreographed, ultimately uplifting piece of work.

Choreographed in collaboration with the dancers of Scottish Ballet and inclusive dance development company Indepen-dance who provide opportunities for people with a diverse range of abilities, this is a  joyous celebration of movement: challenging our pre-conceptions about who can be labelled a ‘dancer’ and demonstrating just what those without rigorous formal training can achieve.

To a sonorous score by Nils Frahm, the two companies seamlessly blend to create an hypnotic and involving work. The solos, group and whole ensemble sequences demonstrate an inventive and original range of movement, expertly matched to the requirements of each dancer.

I defy anyone who sees this not be entranced. It is a piece that firmly cements Marc Brew’s reputation as one of the world’s finest living choreographers.

Reviewed on Fri 24 Apr 2015 as part of Dance International Glasgow festival

This review was originally written for and published by www.thepublicreviews.com

REVIEW: Scottish Ballet’s A Streetcar Named Desire – Festival Theatre, Edinburgh

Returning to the stage three years after its award-winning debut, Nancy Meckler’s direction, Annabelle Lopez Ochoa’s choreography and Tennessee Williams’ sublime words unite once again to create a richly atmospheric, captivating, Streetcar Named Desire from Scottish Ballet.

From her first fragile appearance fluttering around a bare lightbulb as a moth to a flame, it chronologically charts the agonising demise of fragile southern belle Blanche DuBois. From Blanche’s girlish innocence shattered on her wedding day when her husband’s homosexuality is discovered to his subsequent suicide, through the loss of her family home (startlingly realised onstage), her wilderness years relying on the kindness of paying strangers in sleazy motels, to her arrival on the doorstep of her younger sister Stella and her violent and boorish husband Stanley.

What is most surprising about this masterfully executed production is the fact that in the 100 minute running time, the creative team have not only stayed faithful to the source work but managed to pack in its contents in their entirety. A series of short, sharp scenes drives the narrative at break neck speed .

This is also a ballet that borrows heavily from the conventions of musical theatre, indeed there are hints ofGuys and Dolls and West Side Story in both the staging and the choreography, but instead of diminishing its power it all serves to enhance the storytelling and the audience’s enjoyment.

The design by Niki Turner is spare but effective and there is a knock-out score from Peter Salem, evocative and transixing it transports us right to the heart of the tale.

Eve Mutso is elegant and hugely accomplished as the wide-eyed, other worldly Blanche, indeed, she possesses a natural acting ability to complement her supreme dancing skills, however she is a striking presence, one of strength and power which is at times at odds with the butterfly-like fragility that is required for Blanche. Mutso is capably supported by Sophie Martin as sister Stella and Erik Cavallari is a suitably menacing Stanley.

This is production which strikingly breathes life into William’s classic tale  and one which will leave a lasting impression long after the curtain has gone down.

This review was originally written for and published by http://www.thepublicreviews.com at: http://www.thepublicreviews.com/a-streetcar-named-desire-festival-theatre-edinburgh/

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