Backstage 39

Backstage Issue 39 Spring 26

Lights. Camera. Passion.

It’s Showtime!

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Hello & Welcome

to Scottish Ballet’s latest issue of Backstage magazine It’s a ‘showbusiness kinda season’.

In spring, Starstruck transports Scottish audiences to the glamour of 1960s Paris (and Hollywood) and in summer, Scottish Ballet will tour Mary, Queen of Scots to New York’s Broadway.

This issue pays homage to the people who bring us outstanding entertainment in dance. From artists like dance icon, Gene Kelly (whose original choreography and direction is the beating heart of Starstruck), to you, our supporters who make the sparkles and every shade and colour possible. Read how our dancers adapt from classical ballet to jazz, why the

spotlight finally takes centre stage, and about three people who have taken a step further for dance.

If you open this magazine twice a year, thank you. It means you must be one of the stars who supports Scotland’s national dance company. Without you there is no lights, camera, passion.

Sarah Potter Editor, Backstage Magazine Backstage is produced in-house by Scottish Ballet. Words by Sarah Potter, Alison Thomson, and Tess Milner.

Design by Rachele Dunn.

Front cover and this page: Principal Roseanna Leney and and former Principal Evan Loudon.

Photo by Ruby Pluhar.

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03Always in

Style

Scottish Ballet performing Starstruck.

Photo by Gavin Smart.

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Have you ever wondered how our dancers switch from a ballet classic to the latest contemporary creations?

Fresh from the blizzards of The Snow Queen, Scottish Ballet trades classical ballet for jazz, and defrosts in a sublime fizz of sixties Hollywood glamour for Starstruck.

Scottish Ballet’s Dance & Artistic Development team prepare the dancers for the challenges each production brings. Artistic Coordinator Matthew Broadbent says, ‘we plan six months ahead to make sure the dancers are ready for what’s coming up. Whilst the dancers were performing The Snow Queen, jazz-based steps and music from Starstruck were built-in to their daily class. Starstruck is probably as different from classical ballet as you can get.’

Starstruck began life as Gene Kelly’s Pas de Dieux which he first created for the Paris Opera Ballet in 1960. As an artist, Gene dug into ballet, tap, jazz; dipped these steps in folk dancing, sports, and acrobatics; then choreographed, performed, and directed (for stage and camera). Gene’s widow, Patricia Ward Kelly, compares Gene’s talent to Scottish Ballet CEO/Artistic Director, Christopher Hampson. ‘I wish Gene and Chris could’ve met, they are so likeminded, the way they can decode and draw connections between different artforms,’ says Patricia.

Like so many of Scottish Ballet’s dancers, Artists, Hannah Cubitt, Charley Austin, and Hamish Longley trained in different styles of dance, which is an advantage in Scottish Ballet’s diverse repertoire. ‘Growing up I learnt hip-hop and contemporary dance. Having experience of other styles has helped keep my dancing dynamic’ says

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‘Whilst the choreography might look free, relaxed, and fun, it is highly structured’

Deputy Artistic Director, Oliver Rydout

Hamish. Hannah agrees, ‘at The Royal Conservatoire of Scotland we learnt ballet, modern, jazz, and contemporary dance. Jazz is a completely different way to move your body; there’s different dynamics and intentions.’ Charley adds ‘artistry is important in classical dance, but usually the corrections apply to your technique. For jazz, I would say it’s more about your expression in the way you dance. Along with sharp dynamics and rhythmic steps — learning these can elevate the way you move across all styles.’

Scottish Ballet’s lovingly revived Pas de Dieux is wrapped in the arms of Starstruck, which Chris has enhanced and extended with new sections inspired by Gene’s films and television specials. The new first act of Starstruck features Maurice Ravel’s effervescent Piano Concerto in G Major. This concerto crackles with syncopation, blue notes, and playful wit. In the second act, you’ll hear George Gershwin’s Piano Concerto in

F; a piece that most people associate with jazz in the concert hall — tunes as big and brassy as New York City.

And yet, Gershwin’s concerto has a remarkable kinship with the Ravel.

All the music in Starstruck was composed at the heart of the Jazz Age, a period when classical and popular music were borrowing from each other with increasing boldness.

Jazz dance evolved in the early 20th century from emerging African American culture. Dancers across America were blending steps, movement styles, and music. By 1960, America was a hothouse of creativity, inspiring prolific dance artists across the world. Deputy Artistic Director, Oliver Rydout (Ollie) points out, ‘Gene was heavily influenced

by African American tap dancers, Clarence ‘Dancing’ Dotson, Frank Harrington, and Bill ‘Bojangles’ Robinson. For a deep dive and three minutes of tap-dancing joy, lookup Bill ‘Bojangles’ Robinson Stair Dance, 1932.

Next!...

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Curious about Scottish Ballet’s audition process for the professional company?

Here’s the lowdown:

Artist Charley Austin warming up on stage. Photo by Andy Ross.

Ballet’s upward, turned-out poise was originally made for the European royal courts, while jazz is weighted and parallel. Gene’s fusion gave way to a more grounded and athletic style of ballet. Musical theatre specialist and choreographer, Alexander Worrall, worked with Scottish Ballet dancers to help them master the jazz steps in Starstruck.

Ollie explains, ‘you’ll see jazz infused choreography all the way through Gene’s original Pas de Dieux section in Act II. Whilst the choreography might look free, relaxed, and fun, it is highly structured — the dancers’ weight placement, posture, and the dynamic of steps is a specific technique. And that’s where Alex’s help comes in.’ Matthew adds, ‘rehearsals and steps are only 5% of the finished performance, actually achieving the style is 95% — the spontaneity and bursts of energy are the essence of Starstruck.’

Words by Alison Thomson.

• Dancers from all over the world send us their CV, cover letter, and a showreel of their barre work and performances.

In recent auditions for male-identifying dancers, over 400 submitted applications •

Selected hopefuls are invited to audition in Glasgow or London

• We recruit based on the needs of the company at the time, this could be between one and five dancers •

Successful dancers are given an initial 12-month contract — a great opportunity to dance Scottish Ballet’s classical and contemporary repertoire

• New recruits are paired with an SB buddy to help them settle into Scottish Ballet and get to know Glasgow • The Dance & Artistic Development Team work with new dancers for a full year to find out if Scottish Ballet is the right place for them and if they are a good fit for the company repertoire and values — Excellence, Innovation and Inclusion Look out for our five new dancers joining this spring/summer.

07 Spotlight on the Spotlight Deputy Chief Electrician, Iain Levee, shines a light on the secrets of Starstruck Having worked in electronics for 10 years, Iain retrained in Technical Theatre at North Tyneside College and then Royal Conservatoire of Scotland. He’s been part of Scottish Ballet’s Technical Team since 2007.

Iain tells us why the lighting for Starstruck is so special…

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Left: Scottish Ballet’s Starstruck — a story about a 1960s ballet company putting on a show. Photo by Gavin Smart.

Below: Deputy Chief Electrician Iain Levee at work. Photo by Rachele Dunn.

‘Lighting design is all about balance.

Lawrie McLennan’s lighting designs for Starstruck are superb, and as with every production the Electrics Department spare no effort to capture the essence of the designs.

Second hand 5K lights (5000 watts) were sourced to give Starstruck an authentic Hollywood feel. We bathed the vintage lights in citric acid to remove all the rust, then rewired and repainted them before adding them to our bank of lights.

To try and recreate Lawrie’s cinematic designs, we experimented with a sepia, chocolate coloured gel on the lights, but the colour washed out the costumes. Some lights can flatten detail or make people on stage look 2D, which is the opposite of what we want for our dancers.

Another challenge for the original lighting of Starstruck was that the production premiered just after the pandemic (in autumn 2021) and Scottish Ballet wasn’t sure if the stage tour would go ahead. A filmed version was captured too. Film requires as much light as possible.

That changed the dynamics of lighting — we had to find the sweet spot between capturing some of the intimacy of the stage production and what would look right on film.

Unlike other theatrical artforms, in dance, the last thing we want to do is spotlight — a spotlight attracts the attention of the audience to the lighting and can pull them away from what is happening on stage. We want to subtly raise and lower lights to attract attention to specific parts of the stage. However, Starstruck is different because the ballet is set behind-the-scenes of a performance, so where we normally mask and box-in sets, we deliberately give the audience a glimpse of the lighting rigging, and it becomes part of the staging. It’s all very meta!’.

Words by Alison Thomson.

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Point(e) Welcome to our regular feature for Young Friends of Scottish Ballet. New for this issue, our staff and dancers answer your questions...

Young Friends, Ava & Hannah Conroy (twins, age 11) from Penicuik, Midlothian, both dance at Dance Pointe Academy. They would like to know: What do the dancers eat differently on performance days versus normal days?

Above: Young Friends Ava and Hannah Conroy with former Principal Evan Loudon.

To answer Ava and Hannah’s burning ballet question, Principal, Jessica Fyfe, Artist, Mackenzie Jacob (your Young Friend Ambassador), Scottish Ballet’s Head of Performance Medicine, Martin Lanfear, and company dietitian, Renee McGregor, give us the scoop…

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Left: Principal Jessica Fyfe.

Below: Artist Mackenzie Jacob (centre) in rehearsal.

Photos by Mihaela Bodlovic.

Breakfast For Principal Jess, a performance day kicks-off with a hearty bowl of porridge, topped with lashings of cinnamon, apples, yoghurt and honey. ‘In Scotland you can have porridge all year — it’s always cold enough!’ says Jess. ‘It’s dense and high energy and will last me until the end of class.’

Morning Snack After class, Jess snacks on dried fruit, nuts and a cookie. Mackenzie packs a toolkit of quick, easy snacks at the start of a tour. ‘It’s the first thing I do.

I might not feel like I need it when I’m packing, but I will be grateful later that I did,’ says Mackenzie.

The Science ‘The food dancers eat isn’t different on performance days; it’s the timing,’ explains Martin. ‘Rehearsals are often six hours of intense activity per day, so dancers need nutrient dense foods every day. A challenge on performance days is the meal after the evening performance — you want something that helps you refuel and is easily digestible so you can sleep.’

Renee adds, ‘if the dancers have two performances in a day we focus on their recovery and nutrition after the afternoon matinee. Another main difference on performance day is organisation — ensuring dancers have good snack choices with them on tour.’

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Lunch Jess and Mackenzie make lunchtime their biggest meal for performance days (think: pasta, noodles, sandwiches with boiled eggs, avocado, hummus). It’s all about conserving energy for the show.

More Snacks Bananas! On performance days dancers try and take a pre-show nap at 5.30pm, followed by high energy snacks; banana, chocolate milkshake, yoghurt and cereal bars. Jess and Mackenzie agree that bananas are a superstar fruit — the fibre, potassium, and slow-release carbohydrates keep them energised.

Quick easy snacks like oatcakes, nuts, chocolate, sultanas, yoghurts, and cereal bars line the dancer’s dressing room cupboards for intervals and post-show recovery.

Dinner Jess likes chicken soup (which she cooks herself in advance), spaghetti bolognaise, or noodles with a fried egg. Mackenzie loves a bowl of pasta.

‘If I’m in a hotel and don’t have access to a kitchen, I prepare some pasta beforehand then add pesto, tuna, cheese, and rocket leaves. Sometimes it’s so late I don’t feel like eating, but if I don’t eat before I sleep, I wake up in the night hungry.

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Hydration ‘I LOVE hot chocolate’ says Jess — an easy win to stay both hydrated and energised. Martin adds, ‘when in doubt — chocolate milk. It’s hydrating, rich in protein, with a little bit of sugar for energy.’ Jess and Mackenzie also add hydration sachets to water and sip on electrolyte drinks on performance days.

Rest & Recover Dietician Renee’s advice for the days before and after a performance is ‘go and enjoy yourself!’ Jess and Mackenzie both like to unwind at bakeries, restaurants, and at home cooking for friends — roast dinners and gluten free bakeries for Jess, and warm burritos for Mackenzie.

Jess adds ‘the days before and after a show — I eat! I make sure I get everything I need, and if I am hungry and want two dinners, I eat two dinners!

Thank you, Ava and Hannah, for your brilliant ballet question.

If you would like Scottish Ballet to answer your ballet question, please send them to tess.milner@scottishballet.co.uk Words by Tess Milner.

Left: Artist MacKenzie Jacob.

Photo courtesy of Mackenzie.

Right: Principal Jessica Fyfe.

Photo courtesy of Jessica.

Top 5 performance day dos: — water, hot chocolate, 01 Hydrate electrolytes Create a snack toolkit — dried 02 fruit, nuts, dark chocolate, cereal bars

— cook and freeze 03 Prepare meals ahead — follow your body’s 04 Recover instincts on rest days yourself! Share your 05 Enjoy favourite meals with your favourite people

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Patrons of the Possible The people who keep the dance world turning Some members of Scottish Ballet’s community didn’t choose a career in dance, yet something led them further into for the artform. Scottish Ballet Chair, Jim Pettigrew, Patricia Ward Kelly, and legacy patron, Gerald Kemp tell us about their unexpected roles in the dance industry.

15 Jim Pettigrew From glam rock discos at Invergowrie Church Hall to ballroom dancing with his wife, Jim says, ‘all my memories of dance are positive.’

Whilst clearly a lifelong dance fan, Jim’s 35 years’ experience as a chartered accountant and business leader might seem a leap from becoming Chair of Scottish Ballet’s Board. ‘I always take on one nonexecutive role, one that isn’t “pure” business. When I first met CEO/ Artistic Director, Christopher Hampson, and all the staff at Scottish Ballet, I thought “now, here are some gifted people.”

Leadership is the same wherever you go, organisations are full of people, and with the right team in place, you can support and challenge — and the Chair can bring out the best in people.’

Jim’s first job as Chair was to advise on a difficult programming decision.

‘Scottish Ballet was due to premiere A Scandal at Mayerling in 2021, but with pandemic restrictions continuing in theatres, presenting a new full-length work held a lot of risks. Chris mentioned one-act work Starstruck. I said, “that sounds fabulous.” And it was — a joyful return to the theatre. I’m so glad The Scandal at Mayerling had the premiere it deserved a year later.

I’m excited to see the extended twoact version of Starstruck with a live orchestra this year.’

Jim and his wife, Joanna, are Next Generation Campaign supporters, they support First Artist, Anna Williams, and are patrons of the Darrell Bequest Circle — people who have left a gift in their Will to the Scottish Ballet Endowment Fund. They have travelled internationally with the company — leading the applause wherever we go. ‘I’m so proud to be part of Scottish Ballet. The immediacy of the theatre curtain rising, the physicality, music, and beauty on stage, is like nothing else.’ For Jim, serving as Chair has been ‘a total joy’ and the company’s position is proof of his outstanding guidance over the last six years.

Principal Bruno Micchiardi in The Scandal at Mayerling.

Photo by Andy Ross.

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Above: Soloist Claire Souet dancing with Javier Andreu in Starstruck. Photo by Andy Ross.

Right: Artistic Collaborator Patricia Ward Kelly with CEO/Artistic Director Christopher Hampson. Photo by Eve McConnachie.

Patricia Ward Kelly Patricia was the kind of child that got excited about a semi colon. ‘The library was (and still is) my happy place’ says Patricia. She completed a graduate degree in English and was a Herman Melville scholar.

Patricia would say dance wasn’t truly part of her world until her husband, Gene Kelly, drew her in.

‘My parents forced me into ballet classes when I was a child, which I didn’t like, and there wasn’t much dance where I grew up in Colorado.’

When Patricia first met Gene, she was a writer and researcher for a television special he was presenting, ‘I didn’t know who he was, or what Singin’ In The Rain was. When we lived together in LA, and then married, and I was recording his words every day for his memoir — I always considered myself a writer and that dance was Gene’s world.’

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Gene tasked Patrica with making his final wishes come true, ‘I want to be remembered for being behind the camera — and if anyone’s going to do that it’s going to be you.’ It became Patricia’s cause to preserve and perpetuate Gene’s legacy. She is President and Creative Director of The Gene Kelly Legacy, Inc. Patricia has submerged herself in the world of dance to make Gene’s iconic collection of work available to the furthest corners of the world. Patricia says it’s not just Gene’s work she wants to celebrate, but what he stood for; ‘decency, integrity, his crusade to make it OK for boys to dance.’

Patricia is Artistic collaborator on Starstruck. ‘It took 20 years to bring Gene’s Starstruck back to the stage.

He would be so happy that a worldclass company like Scottish Ballet are presenting this work. The whole company are sooooo... respectful and a dream to work with.’

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Gerald Kemp

Gerald’s Aunt Helen was a teaching graduate from Edinburgh University with a curiosity for life — compelled to travel in search of the latest dance and music sensations. Gerald was too young to remember his first theatre visit, ‘Helen took me to the theatre so often, I never thought much of it at the time.’ Whilst Gerald took a career in finance, his trips to the theatre continued through life. ‘Over the last 20 years, I have come to realise how significant those early theatre experiences were.’

In 2013, Gerald and his wife Caroline saw Scottish Ballet perform Highland Fling. ‘I knew I liked ballet, but Caroline wasn’t sure.

Highland Fling changed her mind — and we’ve enjoyed going to the ballet together ever since.’ In recognition of their shared passion for ballet, Gerald and Caroline

decided to leave a gift to the Scottish Ballet Endowment Fund in their Will.

Scottish Ballet’s Philanthropy & Gifts in Wills Officer Hilda comments, ‘we encourage everyone who has remembered Scottish Ballet in their Will to notify us, and we were so pleased Gerald and Caroline got in touch.’ Gerald adds, ‘I never expected to be invited to join The Darrell Bequest Circle, we’re now even closer to Scottish Ballet. We really feel like we’re part of it all.

Seeing rehearsals of Mary, Queen of Scots at Scottish Ballet’s headquarters was next level.’

Gerald and Caroline say they love learning about the opportunities Scottish Ballet make possible, both on and off the stage. ‘We have especially appreciated seeing artists like Kayla-Maree Tarantolo dance through the ranks to become Soloist, and Sophie Laplane’s incredible choreographic journey. Scottish Ballet do so much more than put on shows! All the Engagement Team activities and the Relaxed performances are so important. We hope our gift means more young people have the opportunity I did to experience ballet and theatre.

Maybe they will choose to make dance part of their lives too.’

Words by Sarah Potter.

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Left: Gerald and Caroline Kemp. Photo courtesy of Gerald and Caroline.

Right: Pupils from Cuthbertson Primary School enjoy Scottish Ballet’s new trio Unicorn created for community spaces. Photo by Sally Jubb.

21In Focus A thank you to our supporters

First Artist James Garrington is sponsored

by Artemis. Photo by Andy Ross.

Everyone who supports Scottish Ballet is essential to our success. In each issue of Backstage magazine, we focus on a section of supporters whose generosity helps us to shine.

Thank you to all our corporate partners for aligning with Scotland’s national dance company — your support genuinely means the world to us.

Albert Bartlett Artemis Baillie Gifford Burness Paull Corney & Barrow EY Studio+ Fife Arms Hotel Hamilton & Inches Haventus J Thomson Rathbones STV Triumphs and challenges. From widening reach to investing in new work, our partners help Scottish Ballet with some of the company’s biggest triumphs and challenges. In 2025, Albert Bartlett made it possible for us to create Wee Nutcracker which entertained 5,559 children, families, and local school groups — a first-time ballet experience for many, and we hope it’s an artform they will love for a lifetime.

Scottish Ballet celebrates over 20 years partnership with Baillie Gifford, their support has helped to grow our creativity and our three SB Health neurological programmes. Each week, more than 100 people living with

neurological conditions dance with us in our Tramway studios and in community centres across the country. EY Studio+ our Audience Development Partner, and Haventus our Community Partner, make sure we continue to engage with audiences where we tour.

Our Investment Partner, Rathbones put their trust in Scottish Ballet to tour innovative productions to their key business locations in Scotland and London. In return, we host their clients to experience unrivalled behind-the-scenes access. Thomsons Print ensure Scottish Ballet produces beautiful and environmentally sustainable print (like Backstage!).

Corporate partner, Artemis, sponsor First Artist, James Garrington, and Hamilton & Inches sponsor Principal Roseanna Leney. Leading legal firm, Burness Paull, support Scottish Ballet’s Next Generation Campaign — a programme which gives dance industry creators, makers, and choreographers vital career steps.

A shared commitment to the future of dance.

Together, our corporate partners help us build a stage for imaginations, and in turn we put their company in the spotlight.

If you would like to find out more about connecting your business with Scottish Ballet contact Kirsten Cockburn on email via kirsten.cockburn@scottishballet.co.uk

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23Dance Dates

for Your Diary Mary, Queen of Scots 28 – 30 May, Spoleto Festival USA, Charleston, USA 4 – 7 June, David H. Koch Theater at the Lincoln Center, New York City

Starstruck 16 – 18 April, Theatre Royal, Glasgow 24 – 25 April, Eden Court Theatre, Inverness 1 – 2 May, His Majesty’s Theatre, Aberdeen 7 – 9 May, Festival Theatre, Edinburgh For more details, please visit scottishballet.co.uk/whats-on

24 Top left: Mary Queen of Scots. Photo by Andy Ross.

Lower left: Starstruck. Photo by Andy Ross.

Right: The Scottish Ballet Orchestra.

Photo by Mihaela Bodlovic.

Friends Events

Booking Details

Grooving with Gershwin & Ravel Tramway, Glasgow Tuesday 14 April 11.30am – 12.45pm

For all performances, Friends and Free Friends events, please see our website scottishballet.co.uk/friends

Experience the Scottish Ballet Orchestra prepare to take the Jazz Age to the theatre.

We hope you enjoyed Starstruck Sparkle 1960s glamour reigns in the world of Starstruck. Mary Mullen, Head of Wardrobe and a company dancer shared details of the historical accuracy behind the costumes.

Look out Autumn/winter Friends events will be revealed in May.

In Person £10: Free Friend, Silver Friend, Gold Friend £10: Guest of Friend £10: Young Friend + Guest (add two tickets and discount will be automatically applied at checkout) Online £7.50: Free Friend £5: Young Friend, Silver Friend Complimentary: Gold Friend Please log in to your account to book your place at our events. In-person tickets will be allocated on a first-come, first-served basis, with a maximum of two tickets per Friend.

Only one ticket per household is required for online events.

25Be Part of

Scottish B

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Left: Principal Roseanna Leney with former Principal Evan Loudon in Mary Queen of Scots. After twelve years at Scottish Ballet Evan has stepped away from the stage to continue the next chapter of his life in the USA. His performances have brought joy to thousands of people.

We wish Evan all the very best. Photo by Andy Ross.

Ballet Share your feedback, ideas, pictures and insider knowledge

Incredible Queens I absolutely loved Mary, Queen of Scots. I thought it had everything.

Drama, pace, sensuality and incredible performances from the whole cast. I hope it is a great critical success. — Director’s Circle Gold, Joyce Goodwin Mary, Queen of Scots was unlike any ballet I have seen. The performers, set design, costumes, music and choreographer were all flawless and impactful. Truly stunning. Hugely proud that Scotland and Scottish Ballet can produce true art like this.

Well done. — Corporate partner feedback

We all enjoyed The Snow Queen. It was a marvellous, joyous, and highly entertaining production in every way, from the wonderful costumes, stage design, the splendid choreography and of course all the incredible dancers. — Mrs M A Lascelles Charitable Trust, Lucy Holt It was a privilege to watch a session in the studio with Sophie and James directing the dancers. The Q&A afterwards was a fascinating insight to the development process of the ballet. — Friends event feedback

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SB Health(y) & Happy

Win a Ballet Prize!

[SB Health] has made a real difference to my life — physically and mentally. It is also exciting to feel part of the world of Scottish Ballet. — SB Health participant

For your chance to win an SB baseball cap, please answer the following question:

Dance for Parkinson’s has become a cornerstone for me in maintaining good health and happiness and successfully tackling the daily challenges I encounter with my mobility. The classes give me a weekly infusion of joy — thank you so much for all you do in this way.

— Mary Troup, Dance for Parkinson’s Scotland participant It was heartwarming to be told that we make a difference. Although everyone is obviously very committed to volunteering at Scottish Ballet, it was good to get that feedback. — SB Health volunteer Be Back Bassoon (!)

It has been an absolute privilege to work with such an amazing group of musicians, and I will miss it immensely. I hope the Scottish Ballet Orchestra continues in the same spirit that it has been such a joy to be part of for the last 34 years!

— Second Bassoon, Alex Walker

Right: Second Bassoon Alex Walker with the Scottish Ballet Orchestra.

Photo by Mihaela Bodlovic.

What style of dance have our dancers sharpened this year?

To enter, send your answer by email to Tess Milner at tess.milner@scottishballet.co.uk The correct answer will be pulled from a pointe shoe on Monday 18 May 2026

Keep in Touch

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Antonia Brownlee Director of Philanthropy To become part of the Scottish Ballet family of supporters, please contact antonia.brownlee@scottishballet.co.uk Lucinda Keith Senior Philanthropy Manager

Hilda de Groot Philanthropy & Gifts in Wills Officer

Sarah Potter Senior Copywriter

Alison Thomson Copywriter

Phoebe Elliott-Avouris Advancement & Events Officer

Tess Milner Events & Copywriting Officer

Jayne Orchard Database & Research Officer

Kirsten Cockburn Director of Partnerships For more information on partnership opportunities with Scottish Ballet, please contact kirsten.cockburn@scottishballet.co.uk Olivia Khan Hood Partnerships Account Manager

Poppy Sexton Administration Assistant

Rebecca Conroy Partnerships Account Manager

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Starstruck on Screen Don’t worry if you can’t make it to the theatre this spring — you can experience Starstruck from the comfort of your own home (or bed!)

Starstruck was captured for a mesmerising feature film in 2021. Even if you do have the chance to experience a live theatre performance, it’s worth watching the film for a unique up-close perspective. The film combines live performance capture with cinematic sequences.

Left: Starstruck the film.

Photo by Gavin Smart.

Right: A still from SB Duet bedside ballet resource, which includes exercises to the music from Starstruck.

30 Starstruck film Director, Oscar Sansom, wanted to ‘emulate the Golden Era of Hollywood.’ He says, ‘We’ve used some of the same camera techniques Gene Kelly used in the MGM classics. Director of Photography, David Liddell, sat on the end of a manual camera crane to create that traditional operation style — just like a 1960’s camera crew. These elements were combined with modern techniques to create an immersive cinematic version of the production, that allows the audience to experience it in a completely new way. Gene Kelly created such a sense of joy within Starstruck and that feeling permeated through the whole experience of making this film, my hope is that this joy truly translates through the screen,’ says Oscar.

If the jazz music inspires you to move, why not try our SB Duet bedside ballet resource. Led by dance artist and physiotherapist, Louise Hunter, these energising exercises have been specially designed by our SB Health Team so that you can join safely from your bed, bedside or seated — in care homes, hospitals or at home. Watch a short excerpt of Scottish Ballet’s Starstruck before

being guided through some gentle movement, all accompanied by beautiful music. Scottish Ballet’s Head of Engagement, Lisa Sinclair, says, ‘the SB Health Team wanted to bring the full Scottish Ballet experience to people who may have less opportunity to enjoy the benefits of dance or prefer a more subtle experience. We chose a section of Starstruck repertoire that is uplifting and accessible for everyone.’

Care home staff fed back on SB Duet, ‘their mood lifts, you can actually see it. Sometimes residents are sitting watching TV, and then as soon as they do something like this, you see a difference in them, which is brilliant.’

Discover Starstruck on screen To stream Starstruck on Marquee TV: marquee.tv/videos/scottish-ballet-starstruck To buy the Starstruck DVD from our shop: scottishballet.co.uk/shop To join in with SB Duet resources visit: scottishballet.co.uk/SB-duet

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