Scottish Ballet Backstage 33

Journeys

Front cover: Principal Marge Hendrick for A Streetcar

Named Desire poster. Photo by Gavin Smart.

Above: Principals Marge Hendrick and Evan Loudon on photo shoot for A Streetcar Named Desire poster.

Photo by Emily Macinnes.

Hello & Welcome

to Scottish Ballet’s latest issue of Backstage magazine

If y’all like American literature, this is the Sco ish Ballet season for you.

Here in Scotland — we’re transporting you to 1940s New Orleans with Tennessee Williams’ stunning A Streetcar Named Desire. And for our American friends — brace yourselves, Sco ish Ballet is crossing the Atlantic Ocean for the first time in three years to bring you Arthur Miller’s riveting tale, e Crucible.

To celebrate trans-Atlantic journeys (both real and imaginary), in this issue of Backstage you’ll read about some of the amazing American connections at Sco ish Ballet. From our Youth Exchange students taking

a bite out of the Big Apple, to our dance health researcher who came to us from University of Florida (Center for Arts in Medicine).

ank you, our global community of Friends, patrons and supporters, for making it possible for Sco ish Ballet’s spirit to reach all corners of Scotland and the world.

Sarah Po er Editor, Backstage Magazine

Trans-Atlantic Swing

Principals Marge Hendrick and Evan Loudon.

Photo by Gavin Smart.

Trans-Atlantic

Touring Scotland and USA

is spring, our Sco ish tour of A Streetcar Named Desire will include performances on the Sco ish islands of Orkney and Lewis. While e Crucible tours to Nashville, Charleston and Washington D.C. Sco ish Ballet sta and dancers tell us what it’s like to tour to some of the most prestigious theatres through to our ‘bespoke’ island venues...

Sco ish Ballet’s Technical Director, Ma Strachan first toured with Sco ish Ballet in 1996 as a freelance technician for small-scale touring. ‘I was on the North Team which toured to Orkney and Lewis. Back then, the world wasn’t as technologically minded, we used more basic lighting to make spaces look pre y. 25 years later, we’re touring full-scale theatre shows to the same venues. Seeing sports centres and school gym halls packed with folk si ing cross-legged

up to the front of the stage is always incredibly rewarding.’

Sco ish Ballet’s Technical Operations Coordinator, Rachel Morgan, says, ‘One of the most exciting things about touring to the Sco ish islands is that audiences walk into a community space transformed into something completely di erent. For this, we need to bring everything with us. From dressers to help the dancers with quick changes, a full technical team, trucks and three 40 trailers on the ferry, as well as sourcing accommodation for 50 people. We’re exploring how we can be more environmentally conscious too.’

Touring to the USA is an altogether di erent experience. Ma explains, ‘ e sets travel by cargo ship and arrive at the theatre before us — road, sea and rail, roughly 28 days door

to door, which is very fast. Our job is to advise the American theatre technical teams, then, because of US union rules we watch them do the job of se ing it up. e anticipation of how an international audience will respond is thrilling, especially when we tour to the places where the story on stage is set... In 2017, we presented Streetcar in Berkeley, CA during Tennessee Williams’ 65th anniversary year and the response was incredible.’

e dancers are looking forward to returning to the Sco ish islands and the USA this year. Principal Marge Hendrick says, ‘It’s the first time in five years that we’ve been to the islands. When we’re on the islands I love meeting audience members at the local pub, going for a walk with the most beautiful scenery. In the US I like to immerse myself and get to know the places as if I was living there. I was lucky to put this into practice in 2019 when I stayed in Salt Lake City for two months as part of an exchange with Ballet West.’ Principal Evan Loudon adds, ‘As a touring company we travel all over. You really feel the connection between dancers and the audience performing in a community space, which is very special. I’m excited to go back to e Kennedy Center too — the stage and backstage is huge. ere is a great vibe in the audience and people clap and cheer at di erent things.’

Top: Principal Constance Devernay-Laurence and former Soloist Nicholas Shoesmith in The Crucible.

Photo by Jane Hobson.

Bottom: Scottish Ballet performing The Crucible.

Photo by Andy Ross.

Nicola Turner’s cool set designs for A Streetcar Named Desire are special to Sco ish Ballet’s Technical Team. ‘We made everything in-house,’ Ma says, ‘I designed the flying lightbulb mechanism (a traditional system of raising and lowering lighting with weights). We’ve toured Streetcar more than any other production and the set has never failed us. I’m interested to see if the technical elements continue to stand the test of time — 11 years since the set was originally created.’

is year, the company is presenting e Crucible during Arthur Miller’s 80th anniversary year celebrations. e set was designed by David Finn and Emma Kingsbury. Ma says, ‘ e Crucible will be the largest show we’ve ever taken abroad. e set is completely unique — a huge mechanical revolving wall cuts across the normal trajectory of a traditional flying mechanism and involves a complex set-up.’ What a time to be watching American and Sco ish audiences’ reactions from the wings.

toured Streetcar more than any other production’

TECHNICAL DIRECTOR, MATT STRACHAN

Special thanks to Bently Foundation, Mike and Susan Ru erford, and Loganair for making it possible to include Kirkwall and Stornoway venues on the Sco ish tour this year.

‘Bently Foundation is proud to support the Sco ish Ballet’s Highlands and Islands initiative and we hope that by making it accessible to more of Scotland’s communities the company will inspire the next generation of dancers and artists along the way.’ — Camille and Christopher Bently

And thank you to everyone who donated to the Restoring Streetcar Appeal to bring this iconic ballet back to stages across Scotland.

A Streetcar Named Desire is presented through special arrangement with the University of the South, Sewanee, Tennessee.

‘We’ve

A Welcoming Space for All 07

Photo by Stewart Bryden.

How Scottish Ballet is driving diversity in ballet

Welcoming All 08

e illusion of long legs created by skin-tone tights and shoes is a timeworn trick of the ballet trade. Yet, bronze and brown shades have only been available for a few years. Last year, Sco ish Ballet’s Associate programme for talented young dancers stocked di erent skin toned uniform for the first time. Head of Associate Programme, Kerry Livingstone, received emotional calls from parents because their child could finally wear tights and shoes which match their skin tone. ‘It has been such a simple thing to o er, it’s hard to believe we haven’t had options until now. Making sure that our uniform includes a range of tights and shoes to match all skin tones has been a hugely positive step forward, which has been

celebrated by our young dancers and their parents and allows everyone to feel truly welcome,’ says Kerry. Providing the right dancewear for all our dancers is just one small step in a company-wide commitment to guarantee greater diversity and inclusion for all, across the artform.

In 2020, CEO/Artistic Director Christopher Hampson established Sco ish Ballet’s Equity, Diversity & Inclusion (EDI) commi ee to encourage more company members to feel brave and empowered to make actionable change. e commi ee discuss and make recommendations on how Sco ish Ballet can continue to confront discrimination beyond the nine protected characteristics which include age, disability and

race. ‘Sco ish Ballet must be a welcoming space for all. To do this, the company is driving anti-racism within the dance industry, especially ballet, and engages with a wide range of partner organisations who are commi ed to breaking down barriers to access. is is going to be a lasting legacy which will benefit us all’, says Christopher (Chris).

‘Global majority’ is the term for ethnic groups which constitute approximately 85 percent of the global population. Inequality for global majority dancers doesn’t stop at dancewear for students in training. Disparities also include a pay gap, a lack of career security, continuous barriers to professional success, feeling unsafe in the workplace and harassment.

Ballet Black founder and now Sco ish Ballet Board member, Cassa Pancho

MBE, has been a critical friend to Chris for over 20 years and she supports him in his leadership of the EDI commi ee. Cassa created Ballet Black in 2001 to provide opportunities to Black and Asian dancers, with the goal that one day the company would no longer have to exist. is year, Cassa talked openly with Sco ish Ballet company dancers about her experiences of racism as she progressed through her dance training and the founding of her company.

Sco ish Ballet’s Director of Engagement, Catherine Cassidy, who is leading on the company’s antiracism strategy, says ‘Our dancers want to support global majority colleagues. Listening to Cassa speak about how it made her feel to overhear racist comments from peers, for dance teachers to make uneducated assumptions about her physicality

‘ is is going to be a lasting legacy which will benefit us all’

CEO/ARTISTIC DIRECTOR, CHRISTOPHER HAMPSON

and the struggle to find role models, resonated with them. As a company, we are developing an understanding that people who experience racism carry this as trauma, directly, and consistently, impacting on their confidence, self-belief and wellbeing.’

EDJI Arts Founder, Rey Dosaj, has been working with the company’s leaders to create a series of pledges designed to address racism and racist systems within the performing arts specifically. e 50 pledges target recruitment, wellbeing and leadership that support global majority colleagues across all Sco ish Ballet teams. at includes making sure dancers are provided with skin tone appropriate ballet shoes, specialist care and expertise in styling di erent hair-types along with new skills and knowledge for lighting di erent skintones. It also includes making sure reports of racism are reviewed by a

qualified, experienced panel with a minimum of 50% of members with a lived experience of racism. is year, Catherine launched the Reporting Racism function, a ‘completely anonymous online reporting system for anyone wishing to express a concern based on discrimination.’

In the last 12 months, 109 Sco ish Ballet company members, including Board members, leaders, sta and dancers have engaged in a continuing programme of anti-racism training. Rey explains, ‘Whilst this work is a journey and something that will be ongoing, Sco ish Ballet are working to build anti-racism into their daily working practices in a way that benefits everyone engaging with the organisation.’

A special and heartfelt thank you to Bently Foundation who have been unwavering in their support for the company in establishing, implementing and delivering the anti-racism training — from the Board through to our Leadership Team, dancers and support teams. By developing an understanding and awareness we can ensure Sco ish Ballet continues to become a welcoming and relevant space for all.

Photo by Stewart Bryden.

People Behind the Scenes

Your support helps us to bring together talent

PhD researcher at the Royal Conservatoire of Scotland and Glasgow Caledonian University (in collaboration with Sco ish Ballet) Emily Davis danced with Pennsylvania Ballet (recently renamed Philadelphia Ballet) for six years. Now she’s carrying out the first PhD exploring dance health for people living with multiple sclerosis.

What inspired you to start your PhD?

Whilst dancing professionally, I was studying at the University of Pennsylvania and working with organisations that provided accessible arts opportunities across community and clinical se ings. I taught dance in a traumatic brain and spinal cord injury unit and

was also carrying out research in neurological rehabilitation for children with cerebral palsy. I could see the potential for dance in health and social care. In 2021, I put my pointe shoes to the side to undertake a full-time PhD.

What made you choose to work with Sco ish Ballet?

I knew of Sco ish Ballet through the University of Florida’s Center for Arts in Medicine, which has worked closely with Sco ish Ballet in a multi-site partnership for dance for MS practice and research. I looked at the dance health pages of Sco ish Ballet’s website hundreds of times. Dance companies o en have specific dance health projects but to have a dance health department is really

Behind

Emily Davis in Philadelphia.

Photo Courtesy of Magee Rehabilitation — Je erson Health.

unique. I had a meeting with Sco ish Ballet’s Health Team and I got a really good vibe.

What have you learnt from working with Sco ish Ballet Elevate®?

I’ve visited Sco ish Ballet Elevate sessions in Perth and Orkney as well as Glasgow. It has been lovely to meet, and dance with the participant dancers living with MS. Everyone has been so welcoming and interested in my research.

I’ve learnt that just focusing on understanding what works isn’t the right approach. It’s about what works for whom and in what context. In Orkney, working in collaboration with local partner organisations, dance artists and Elevate dancers

has been a great opportunity. e research takes on a life of its own.

What else have you been working on with Sco ish Ballet?

I’m interested in how technology can be used in dance health, so I was delighted to be asked to evaluate the SB Duet pilot. e project involves a series of digital dance resources that can be safely enjoyed from your bed or bedside. e development has been a big learning curve for me and Sco ish Ballet, trying to find the right balance between an in-person presence and digital delivery.

Sco ish Ballet and I have built a beautiful relationship with care home sta and residents. Initially, we thought Duet would be useful

‘I’m interested in how technology can be used in dance health’

PHD RESEARCHER, EMILY DAVIS

for residents who couldn’t leave their room. But actually, sta regularly brought residents together to use Duet as a group.

What are you looking forward to working on with Sco ish Ballet this year?

ere is so much going on at Sco ish Ballet. I’m excited to see the Social Prescribing project delivery start and how it might help build capacity for healthcare in Scotland.

It would be good if dance was a referral option for healthcare professionals.

Emily Davis enjoying an Elevate class on Orkney.

Photo by Ken Amer.

e Point(e)

Welcome to our regular feature for Young Friends of Scottish Ballet

In this issue, First Artist and Young Friends’ Ambassador Rishan Benjamin meets Robbie Fisher. A current Royal Conservatoire of Scotland (RCS) student, Robbie was a Sco ish Ballet Associate and took part in the 2021 Youth Exchange before joining the company on the recent e Snow Queen tour. Rishan and Robbie discuss their ballet beginnings, street dance, Strictly, and a shared love for New York...

First Artist and Young Friends’ Ambassador, Rishan Benjamin.

Photo by Stewart Bryden.

Rishan asks Robbie

Where do you see yourself in two years?

Ideally in a ballet company. If not at Sco ish Ballet, somewhere like it because it’s such a great environment. e people are really friendly, and I don’t feel there’s a hierarchy with the dancers.

When did you start ballet?

I started dancing when I was six. I was watching Strictly Come Dancing and asked my mum if I could dance. My mum took me to classes, and I just always wanted to do ballet!

What inspires you?

I was on tour for e Snow Queen and everyone around me at Sco ish Ballet inspired me. At RCS my friends and peers inspire me, we’re so closeknit and we motivate each other.

You visited New York with Sco ish Ballet’s Youth Exchange, how was it?

It was amazing! We got the chance to do contemporary dance, which is such a di erent way of moving, and did a week of ballet class at Broadway Dance Center. I met so many new people, dancers and choreographers. It really enhanced my skills and understanding of dance, it was so much fun.

Scottish Ballet Associate & Youth Exchange Alumni

Robbie Fisher

Age: 18

From: Glasgow

Hobbies (apart from dancing): e fiddle

Favourite post-training snacks: Brunch bar

Most played song on your playlist: Getaway Car by Taylor Swi

Favourite ballet: Elite Syncopations

Favourite dance move: Piroue e

How you keep fit: Gym and occasionally hot yoga

Item you never leave the house without: Lip balm

Did you know...

Sco ish Ballet’s Youth Exchange programme is 10 years old this year. We select a cohort of dancers aged 14-24 each year to simulate a professional dance company.

First Artist & Young Friends’

Ambassador Rishan Benjamin

Age: 23

From: South London

Hobbies (apart from dancing):

Rollerblading

Favourite post-training snacks:

Hula Hoops

Most played song on your playlist:

Industry Baby by Lil Nas X

Favourite ballet: e Crucible

Favourite dance move:

Piroue es (Same!)

How you keep fit: Rollerblading

Item you never leave the house without:

Lip balm and moisturiser

Robbie asks Rishan

What has been your highlight with Sco ish Ballet?

Going to New York to perform Sco ish Ballet’s Choreographer in Residence Sophie Sophie Laplane’s Sibilo.

Was it always ballet you wanted to do?

I originally started street dance and was picked to do ballet by my teachers. I started doing classes, loved it and now I’m here.

Do you have any pre-show rituals and how do you deal with nerves?

I used to listen to He Lives in You from e Lion King and hype myself up before a performance. I use my head scarf to set my hair and make it neat, it’s got to be crisp before a show.

When you are nervous, it’s the same feeling you get when you are excited, so I try to channel that. Once I start, I don’t even think about it.

What advice would you give to full time students going through audition stress?

Don’t be too hard on yourself. I used to beat myself up and be hard on myself. It’s hard not to think ‘I’m not going to get it’ but try to keep an open mind. Go through the process, embrace it, and take each moment as it comes.

Left: Robbie Fisher.

Photo by Andy Ross.

Right: First Artist and Young Friends’ Ambassador, Rishan Benjamin.

Photo by Rimbaud Patron.

Sequin Secrets

Behind-the-scenes at The Snow Queen

ank you to Amara Anderson (age 11) and her family who joined us backstage at Edinburgh Festival eatre. Amara tells us her top five stage secrets from e Snow Queen.

Left: Principal Bethany Kingsley-Garner.

Photo by Mihaela Bodlovic.

Right: The Snow Queen production images.

Photos by Andy Ross.

1. 2. 3. 4. 5.

Only the Stage Manager can say ‘go’ to dim the lights. At the lighting desk, the master switch controls the entire auditorium for complete darkness

e caravans are surprisingly small. Up-close you can see their squashed shape, which looks perfect from a front-on view, but asymmetrical from a side-on view

On sequinned costumes, the places where dancers hold their partners for li s are le bare of sequins

e snow is made from torn-up bits of paper placed inside a folded cloth which stretches the entire width of the stage

And the magic trick where one of the dancers disappears — obviously has to remain top secret!

If you would like to see your news or reviews in print, please email them to alison.thomson@sco ishballet.co.uk

Life Lessons

A first theatre experience can ignite a lifelong passion for the arts. With school budgets tightening up, and the cost-of-living crisis making it more di cult for families to buy tickets, sadly, many children are missing out.

anks to Sco ish Ballet’s Access Partner, Albert Bartle , 120 Primary 5 & 6 children from four di erent primary schools across Scotland took part in dance workshops and saw a performance of e Snow Queen at their local theatre.

During workshops, pupils warmedup by crawling like snow wolves, and skipping like circus acrobats. Sco ish Ballet’s Engagement O cer, Taylor Han, taught the pupils key character moves which they could look out for when they saw the performance — like the Ringmaster announcing that the circus had arrived, the Strong Man showing o his muscles, and the Ballerina twirling. For many pupils, this was their first-time dancing creatively to live music.

The Snow Queen goes to school

Pupils from St Edwards and Tollbrae Primary Schools meeting Scottish Ballet dancers.

Photo by Olivia Khan Hood.

‘We learnt some really hard dance moves, then we got to make up our own’

COMMENT FROM PUPILS AT TOLLBRAE PRIMARY SCHOOL, AIRDRIE

With special thanks to Sco ish Ballet’s Access Partner

23Sco ish Ballet Community

Scottish Ballet’s dementiafriendly programme, Time to Dance®.

Photo by Brian Hartley @StillMotion.

Ballet Community

Share your feedback, ideas, pictures and insider knowledge

Foot Tapping

‘It was wonderful to be welcomed back to Sco ish Ballet’s dementiafriendly Time to Dance® class by familiar faces, and to meet some new ones. As soon as Adam begins playing bongo or piano, my friend’s face lights up and her body starts to move to the music. It’s truly magical to watch and always brings a lump to my throat. I can see it has the same e ect for others in the class — pre y soon the feet start tapping and the class start moving to the music and connecting with their partners and the volunteers.’ — Time to Dance® carer and participant

Beginners’ Call

‘Your conversation with Stage Manager, Zoe Hayward was a real eye-opener. I don’t know what I thought a Stage Manager did, but it became very clear just how critical the role is — perhaps like having a second conductor. I have really appreciated the way you have used the events over the years to highlight di erent roles in the company and it all goes to increase my eventual enjoyment of live shows.’

— James Wa , Directors’ Circle

Emerge

Welcome to new Members from USA, Norway, Germany, Netherlands, Singapore and Belgium who have booked on to Sco ish Ballet’s pilot dance programme for long Covid called Emerge. We look forward to dancing with you.

Win a Ballet Prize!

For your chance to win a personalised postcard from our dancers on tour this spring/summer, please answer the following question:

Name four locations Sco ish Ballet will be touring to in 2023.

To enter, send your answer to us by email or post with your name to: Alison omson alison.thomson@ sco ishballet.co.uk or send to Sco ish Ballet, Tramway, 25 Albert Drive, Glasgow G41 2PE. e correct answers will be pulled from a pointe shoe on Monday 15 May 2023.

Stage Manager, Zoe Hayward.

Photo by Rimbaud Patron.

Step into the Studio

Keep in Touch

Want to be close enough to see the sequins and the sweat?

Become a Friend and you’ll be invited to step into our studios, take in the view from the stage or peek behind the camera.

For just £3 a month, enjoy all our Free Membership benefits, plus:

• Priority booking for ballet classes, events and our sell-out productions — perfect if you like to snap up your favourite seat

• Exclusive Friends events in our Glasgow home and online — watch rehearsals in the studio and meet the team who make us performance ready

• Special events in your local theatre — see sets and costumes up-close and feel the heat of the lights

•

A copy of Backstage sent to your home

To become a Friend, or to gi the ballet lover in your life, go to sco ishballet.co.uk/friends.

You can also sign up over the phone by calling Olivia Calder on 0141 331 6291.

Contact Information:

For information regarding personal support for Sco ish Ballet, please contact antonia.brownlee@sco ishballet.co.uk.

For more information on partnering with Sco ish Ballet, please contact kirsten.cockburn@sco ishballet.co.uk.

Alison Thomson Copywriter

Kirsten Director of Partnerships

Brownlee Director of Philanthropy

Sarah Potter Senior Copywriter

Yvonne Halliday Partnerships & Events Manager

Olivia Khan Hood Partnerships Account Manager

Lucinda Keith Senior Philanthropy Manager

Rowan Wishart Philanthropy O cer

Olivia Calder Advancement & Events O cer

Photo by Mihaela Bodlovic.

Your Turn

For your name in lights

ank you to all of you for keeping us on our toes this year. In each issue of Backstage magazine, we will focus on a group of supporters whose generosity has made it possible for us do something unique. Let’s find out whose turn it is…

Principal Constance Devernay-Laurence.

Photo by Drew Forsyth.

The Darrell Bequest Circle

We warmly acknowledge and thank the following patrons who have pledged to leave a gi in in their Will to e Sco ish Ballet Endowment Fund (SBEF) helping to build a resilient and dynamic future for the company.

Susan F Anderson

Marion McGadie Baird

John Bogle

Dean Fostekew

Sarah Graham

Irene Irvin

Lana Joyce

May Mailer

Norman Murray CBE & Pam Murray

Fiona McKenzie Perry

Maggie Smith

Alastair Stewart

David Taylor

Eleanor Taylor

Graeme Taylor

Isobel ompson

James Wa & 46 anonymous patrons

Euan Fleming, Partner of SBEF legal advisor, Burness Paull explains why you might like to consider leaving a legacy to Sco ish Ballet’s Endowment Fund in your Will. ‘Giving money to a charity, such as Sco ish Ballet, in your Will is a great way to leave a positive legacy for the future. It can also reduce the amount of tax paid by the rest of your estate so your family can get the most out of their inheritance.

ere are di erent types of legacy which you may wish to leave:

• Pecuniary — a fixed sum of money

• Specific — an item of property including shares or jewellery

• Residuary — a share of the estate a er specific bequests have been paid

• Contingent — a legacy that only takes e ect if other gi s fail

A legacy gi is completely free from inheritance tax. In addition, if you leave 10% or more of your estate to charity, the rate at which inheritance tax is paid on the remainder of your estate is reduced.’

Supporters leaving legacies are warmly invited to join e Darrell Bequest Circle — established in honour of Peter Darrell and his visionary leadership as Sco ish Ballet’s founding Artistic Director, and in recognition of the significant role legacies play securing our future. By le ing us know that you have included Sco ish Ballet in your Will means you can enjoy special behind-the-scenes events in your lifetime.

‘ e wonderful experience of watching dance on stage was something I discovered by accident as a teenager, and it has been my passion ever since. Leaving a legacy to Sco ish Ballet’s Endowment Fund means that I can continue to share my passion for the creativity of dance with others beyond my lifetime.’

— Dean Fostekew

Dance Dates for Your Diary

A Streetcar Named Desire

13 – 15 April

eatre Royal, Glasgow

21 – 22 April

Eden Court, Inverness

27 – 29 April

His Majesty’s eatre, Aberdeen

3 – 6 May

Festival eatre, Edinburgh

22 – 23 June

e Pickaquoy Centre, St Magnus International Festival, Kirkwall, Orkney

29 – 30 June

Lewis Sports Centre, Stornoway, Lewis

Coming Soon

8 – 9 June

Friends, patrons and members’ only performance at Tramway. Watch this space for more news!

The Crucible

19 – 20 May

Tennessee Performing Arts Center, Nashville

24 – 28 May

Kennedy Center, Washington DC

2 – 4 June

Spoleto Festival USA, Charleston, South Carolina

For more details, please visit sco ishballet.co.uk/whats-on

Past events

Meet the Dancers

On Monday 13 March, Members and Friends a ended an online event where dancers answered questions and shared insights on the rehearsal process for A Streetcar Named Desire before its return to the stages of Scotland for the first time since 2015.

Styling Streetcar

Friends joined us on Friday 17 March to learn all about the costumes with Head of Wardrobe, Mary Mullen, from fi ings and fabrics to frantic quick changes! en it was time to sneak into the studio to watch the dancers rehearse.

It was lovely to (finally!) see you in person again. Look out for next season’s events dancing into your inbox soon.

Booking Details

For all performances, Friends and Members events please see our website sco ishballet.co.uk

In-person events (All Friends) £10

Online events (Friends) £5

Online events (Principal Friends) Free Online events (Members) £7.50

To book, login to your Sco ish Ballet account by visiting sco ishballet.co.uk/friends-events

Or contact Olivia Calder olivia.calder@sco ishballet.co.uk, 0141 331 6291 or visit sco ishballet.co.uk/support

Adam Blyde and Eve Mutso performing the roles of Blanche and Mitch A Streetcar Named Desire.

Photo by Andy Ross.

Treasure, Share & Recycle

If you’d rather receive Backstage magazine in digital format only, please email olivia.calder@sco ishballet.co.uk

Backstage has been wrapped in compostable BIOPLAST® 300. It is a plasticiser-free, thermoplastic material that contains natural potato starch and other biologically sourced polymers.