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.’

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.