Backstage Magazine: Issue 27

WE ARE UNIQUE

Ruffling Feathers

Backstage Magazine Issue 27 | Spring/Summer 2020

Our Advancement Team

Hello & Welcome

Kirsten Cockburn Head of Sponsorship and Commercial E: kirsten.cockburn@scottishballet.co.uk T: 0141 331 6281

Welcome to Scottish Ballet’s latest

Yvonne Halliday

issue of Backstage magazine

E: yvonne.halliday@scottishballet.co.uk

Sponsorship and Events Officer T: 0141 331 6274

We’re at the apex. Stretching through the air. Sometimes ruffling feathers along the way.

Cat Tyre Tour Manager — Wee Ballets

In this issue of Backstage, we dive into some of the Scottish Ballet projects that break the mould. Remarkable ventures, like our development programme for professional dancers, or the one-toone support for people living with dementia, have only been possible because of the unique culture and environment that your unwavering support nurtures.

(Advancement Support) E: cat.tyre@scottishballet.co.uk T: 0141 331 2931 Antonia Brownlee Head of Philanthropy E: antonia.brownlee@scottishballet.co.uk

David Dawson’s Swan Lake is no exception. Our ‘classic retold’ allows audiences to appreciate the power and agility of our dancers embodying swans. A bold leap into new territory, something that our Founder, Peter Darrell was no stranger to, neither were a long line of great artists. That’s the nature of our business.

T: 0141 331 6290 Sarah Potter Copywriter — Advancement E: sarah.potter@scottishballet.co.uk T: 0141 331 6292

It’s thanks to you that we have the courage to fly up front, to be different, to try something new. We hope you are proud to be part of our journey.

Administration Officer — Advancement

Sarah Potter

T: 0141 331 6291

Olivia Calder E: olivia.calder@scottishballet.co.uk

Editor, Backstage Magazine Cover and image to left: behind the scenes of Swan Lake photoshoot. Photo by Drew Forsyth.

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Limbs Like Wings David Dawson returns for Swan Lake Dawson’s Swan Lake had its world premiere in 2016, making it the first Swan Lake for Scottish Ballet in 21 years. Some people’s feathers were ruffled by the absence of tutus, for others it was the freedom they needed.

As Choreographer, David Dawson prepares to return to his version of Swan Lake, creatives, performers and patrons ask him about his inspiration and plans for its revival.

Chief Executive/Artistic Director, Christopher Hampson: You have pioneered, and continue to push, the limits of classical ballet. How do you renew your own inspiration for creating new movement?

[David Dawson]: All my inspiration comes from reading, listening to music, visiting museums, and watching the world around us. I am very interested in humanity, how the world is felt, seen and heard. I try to present these ideas through the filter of a classical form. I believe the work of an artist is a never-ending search of trying to capture the invisible.

Above: Choreographer David Dawson. Photo by Oliver Look.

Below: Company dancers rehearsing Swan Lake. Photo by Christina Riley.

Director of Dutch National Ballet, and Scottish Ballet Board Member, Ted Brandsen: It’s been four years since you premiered your Swan Lake with Scottish Ballet, will you be making any changes when you come back to it?

[DD]: There are many new dancers to work with at Scottish Ballet — each bringing their own personalities and fresh interpretations to the production. This revival has also given me a new sense of purpose about what can be achieved. I would like to focus on the emotional elements that are so important to this iconic story of love.

Scottish Ballet corporate partner, Hilary Austin: Do you see yourself in any of the characters within the production and does that affect your choreography in relation to that character?

[DD]: I was drawn to the character of Siegfried. I felt connected to his qualities as an outsider, and his longing to spend more time in his own dreamworld. In a sense, Siegfried is the artist — he is every one of us — he is the poet, the dreamer, and he desperately wants to believe in something. He loses the greatest of all loves, and himself. For me, his sense of hope remains after the curtain falls.

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Principal Bethany Kingsley-Garner rehearsing Swan Lake. Photo by Christina Riley.

Music & Orchestral Services Manager, John Davidson: How do you feel when you are listening to Tchaikovsky compositions?

[DD]: When I listen to Tchaikovsky’s music, I feel he brings me closer to myself. He helps illuminate all the beauty and passion we possess, particularly with his scoring of Swan Lake.

Listening to a live orchestra, you can feel how instantaneous music is, seeing the bow touch the string, or sensing the breath passing through the instrument, creating these heavenly sounds. They disappear as quickly as they arrive but linger in your mind and awaken something in the soul.

Rehearsal Director, Oliver Rydout: This time round you’ll be bringing your new Assistant, Becky Gladstone. Does that different dynamic change the way you create in the studio?

[DD]: Every single person on the Artistic Team is so important to me. They say, ‘it takes a village’, and yes, it really does.

Every Assistant I work with has their own unique qualities that I treasure. Sometimes it can be philosophical assistance, sometimes it is more practical help — all these different ways help me to shape the work itself.

Principal, Marge Hendrick: Coming back to a production, I feel like we, as artists, are looking for new approaches. How, as a choreographer, will you find this novelty in your Swan Lake? And what other dimensions would you like the dancers to bring to Swan Lake?

[DD]: I believe that dance is an inner melody that we all have inside us, this deep connection with the movement is key to creating the musical body. When we see the body as music, we can all become the melody, we become the dancer, and get closer to the emotion of Tchaikovsky’s great score.

Scottish Ballet Senior Associate, Sophie Alexander: Do you have a specific structure to your choreographing process or is it more based on what inspires you in that moment?

[DD]: I always try to be as prepared as possible before I begin working in the studio on any new ballet. This preparation takes months. Eventually, I must give way to the moment in the studio when I begin to discover what a dancer can do, who this dancer is, how they connect to the movement. For me, it is a process of uniting my own vision with that moment.

David is grateful for these questions and to all Scottish Ballet’s patrons for supporting his work. Swan Lake tours Scotland this spring. Please see back cover for venue and ticket information.

— SP

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‘I am interested in humanity, how the world is felt, seen and heard’.

Choreographer David Dawson

Principal Constance Devernay and Choreographer David Dawson rehearsing Swan Lake. Photo by Christina Riley.

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V—Formation Meet the team In his spare time, Head of Stage, Sam Phillips is a Special Constable for Police Scotland. He says it keeps him grounded, which is good, because he spends a lot of time in the theatre abseiling.

Head of Stage Sam Phillips. Photo by Eve McConnachie.

What is your job and what does it involve?

Can you tell us about some of your proud moments?

Head of Stage means looking after the sets and the running of the stage. Anything that involves moving wheels, flying parts, or holding a drape so that a dancer can step on to the stage.

The Crucible automated sets. During the orchestra soundcheck, I thought ‘wow, I had a part in that’. After performances, audience members, fellow technicians and venues would comment on how impressive and epic the sets were.

How did you get into theatre?

Are all ballets the same to work on?

I moved to Glasgow from Birmingham in 2007 to attend Royal Scottish Academy of Music and Drama, (now Royal Conservatoire of Scotland) where I studied Contemporary Theatre Practice. I discovered my calling in production management. I worked as casual crew and worked my way up to Assistant Production Manager at National Theatre of Scotland.

Learning about all sides of producing work has made me empathetic to the artists we work with. I look for possibilities. I’m pleased when artists feel like they are in a collaborative process with me.

What makes Scottish Ballet’s Technical Team different from other companies?

Attention to detail. We are a small team, but with that there is dynamism. We get right to the crux of a matter.

We never plateau because we are always challenging ourselves to take our operation a step further. What the audience sees each night might be the same, but how we get there will be more efficient each time.

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The fundamentals are the same; a sprung floor and masking — hiding what we don’t want the audience to see. The rest is entirely different and depends on the production’s design. The Crucible had no set changes other than the automated wall, and dancers moving props on and off stage. For The Snow Queen, there were huge, very quick, set changes. In one, a member of the technical team was onstage in costume!

What are you most looking forward to working on at Scottish Ballet in 2020?

Touring Swan Lake. The set consists of two large metal framed walls, which are then clad in the scenic finish. They are huge and look impressive on stage; I’m looking forward to getting stuck into the installation of these in each venue. I spied the shipping containers with all the baubles in for The Nutcracker and got excited about that too.

— SP

Swan Song Supporting our dancers to take the next step in their career For most of us, retirement is the swan song to our working life.

For a ballet dancer, hanging up your (pointe) shoes, signifies not only the end of one career, but the beginning of another.

Having trained throughout childhood and starting their career straight out of ballet school, supporting our dancers to take the next step in their career offers our dancers an opportunity to stretch their wings and try something new.

We sat down with three of our dancers; Artist, Matthew Broadbent, Soloist, Araminta Wraith and First Artist, Rimbaud Patron, to talk about flying the nest and how Scottish Ballet helps to prepare them for ‘the afterlife’.

Artist Matthew Broadbent: Scottish Ballet helps prepare us to transition to a new career , there are lots of opportunities and I say ‘yes’ to each one that comes my way!

I am part of Scottish Ballet’s Dancers’ Education Group (DEG), a Scottish Ballet initiative for dancers to learn how to teach. I am also an Ambassador for the charity Dancer Career Development (DCD), that supports dancers to successfully transition to a second career. Teaching is something I am trying out. Christopher Hampson has been supporting me to pass on choreography to the corps de ballet. Teaching is a very different skill from dancing, the more I do, the more confident I become.

From my different roles in the company, I’m now starting to see all the other aspects to company life. It’s an honour to be a professional dancer and you have to be very committed to your job. At the same time, anything you do for your future career, you see the benefit of today.

Artist Matthew Broadbent in company class. Photo by Andy Ross.

‘The more I do, the more confident I become’.

Artist Matthew Broadbent

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Soloist Araminta Wraith: I have ideas about what I want to do when I retire as a dancer, but no fixed plans. I’ve been so focused on dancing from such a young age, I want to try out different things before I leap into my next career.

Like Matthew, I am an ambassador for DCD. They understand that while some people know exactly what they want to do next, most people are not sure. Last year, DCD supported me to do a course in Strength and Conditioning. Sports Science is something I’m interested in and I might like to explore it in a professional way later.

Last year, Dancetabs approached me about writing a blog.

I didn’t know whether to say yes at first, I hadn’t written anything since GCSE English, but it sounded fun. I gave it a go and enjoyed it.

DEG is one of the many branches of things Scottish Ballet is supporting me to explore. I recently taught the adult beginners ballet classes, which was great fun.

Soloist Araminta Wraith rehearsing Swan Lake.

Photo by Christina Riley.

‘I want to try out different things before I leap into my next career’.

Soloist Araminta Wraith

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First Artist Rimbaud Patron: Photography is what I want to do when I retire. I am registered as a freelance photographer and most of my weekends are spent doing that. It started as a hobby — taking photos of the company when I had a break in rehearsal. I was appointed Scottish Ballet’s Artist in Residence, photographer, in 2017.

During a dress rehearsal, I will be dancing and then jumping off the stage to take photos and then jumping back on stage. It helps knowing the subjects and the choreography, I know what is coming next.

As a dancer, you have to think about your second career.

Scottish Ballet gives me a lot of support and puts a lot of trust in me. I’m not retiring from dance yet. However, I’m getting great experience, putting my portfolio together and making contacts for the future.

— AT

First Artist Rimbaud Patron in company class.

Photo by Andy Ross. Below: Company dancers in The Nutcracker. Photo by Rimbaud Patron.

‘As a dancer, you have to think about your second career’.

First Artist Rimbaud Patron

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Spring 2020 is ALIVE Thank you for a triumphant 50th anniversary in 2019.

Join us as we continue to flourish in 2020.

On stage...

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ngelin Preljoçaj’s MC 14/22 (Ceci est mon corps) and Sophie Laplane’s Sibilo form a visceral contemporary double bill titled This is My Body… We were at The Joyce Theatre, New York at the start of March. You can catch us for our debut at the Linbury Theatre, Royal Opera House, London from Tuesday 31 March.

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On screen...

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isten. Our digital archive is almost complete. You can view our full catalogue of footage from the last 51 years of Scottish Ballet at National Library of Scotland’s Moving Image Archive (MIA) at Kelvin Hall, Glasgow.

See Peter Darrell’s The Nutcracker, former Principal, Elaine McDonald dancing Cheri, and Dame Margot Fonteyn dancing La Sylphide. This February, we launched our Restoring the Audio Archive Appeal to digitise the original music, so that you can hear the soundtrack to Scottish Ballet’s life too.

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Company dancers performing MC 14/22 (Ceci est mon corps). Photo by Andy Ross.

Peter Darrell’s original production of The Nutcracker (1973). Photo by Alan Crumlish.

In our community...

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n-patients. We’ll be in residency at the Queen Elizabeth University Hospital, Glasgow throughout May delivering bespoke classes and performances for patients and staff.

Elevate class at Scottish Ballet. Photo by Andy Ross.

In our gardens...

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isit the Hidden Gardens. If you are at Tramway this spring, take a wander in The Hidden Gardens. Head Gardener, Paula Murdoch has updated the ‘ballet border’ adding a golden tone to the original ruby themed planting that commemorated our 40th year in 2009.

Supported by The Scottish Ballet Endowment Fund, in amongst the newly planted statement trees, you’ll find Ballerinas, Silver Queens, Frozen Flames and Rhubarb and Custard tulips.

Head Gardener Paula Murdoch planting bulbs in November.

In the workshop...

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mpires and lovers. New designs for The Scandal at Mayerling are underway. Think opulence, think drama. Tickets are on sale now for our autumn 2020 tour. Reimagined and redesigned by Scottish Ballet, this dramatic world premiere will be the first time Sir Kenneth MacMillan’s iconic ballet is produced in the UK outside of London.

Poster image for The Scandal at Mayerling.

Artwork by Scottish Ballet design team, original photo by Nicola Selby.

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‘It’s reassuring to know, that as a dancer, the dance never leaves you’.

Dance Artist Hayley Earlam

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Flock together The healing feeling of moving with others One-to-one support. It can make a world of difference, but it takes time and skill to get it right. Our Engagement team are constantly finding new ways to help more people to do the things that are important to them. Our input means that carers can relax and have time to enjoy dancing too. Sometimes, we help take one-to-one support a step further…

Hayley and Norman meet every week. Hayley picks Norman up from his care home and he gives her a big hug. Hayley tells Norman that they are, ‘going to work, to rehearse at Scottish Ballet’. It’s the same language Norman would’ve used 20 years ago.

At the start of their time together, Norman struggles to find the words he’s looking for. In the car they dance until Norman thinks it’s silly. When they arrive at Tramway, they take a walk around the exhibitions and through the Hidden Gardens.

Norman starts to relax. He is also excited because he knows where he is. When he enters the studio at Scottish Ballet he is in his domain, this is his familiar place, his spiritual home. They dance together for an hour, Norman leading the way. Halfway through the session, Norman’s language starts to flow again, his sentences are more complete.

Dancer Norman Douglas with Dance Artist Hayley Earlam.

Photos by Eve McConnachie.

Norman through an Indepen-dance class, we would naturally gravitate towards each other. When Scottish Ballet’s dementiafriendly classes, Time to Dance started, Norman came along, and we kept dancing together’.

Norman Douglas is in his 60s, he is a professional dancer and choreographer now living with dementia. Hayley is 30 years old and has been working for Scottish Ballet since 2014, initially as an Education Officer and then as a freelance Dance Artist. She has journeyed with us on our developments in dance health, undergoing our specialist training in Parkinson’s, dementia and multiple sclerosis.

Scottish Ballet’s Engagement Creative Director, Lorraine Jamieson, was keen to show Norman where he shines. She says, ‘we shot a film of Norman and Hayley in one week. It was intensive but had a huge impact on Norman. During the process Norman said, “I’m living for this!” Care home staff said he was on cloud nine’.

Hayley also works with one of Scottish Ballet’s partner organisations, Indepen-dance, an inclusive dance company for disabled and non-disabled people. Hayley recalls, ‘I first met

Norman has a great circle of friends and colleagues who make sure he maintains who he is. A close friend of his, Sheila McCubbin, organised funding for Norman to continue

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meeting with Hayley for weekly jam sessions. Scottish Ballet gifted the space. Hayley says, ‘It felt natural to keep coming to Scottish Ballet. If we were doing this in a community hall it wouldn’t have the same impact for Norman’. Norman is a lot younger than other people with dementia and he has a lot more dance experience than everybody else. The jam sessions mean that Norman can have a tailored experience that is appropriate for him and is informed by him.

Hayley doesn’t know if Norman knows her name, but it’s safe to say they know each other very well. Hayley says, ‘Norman is a great dance partner, really confident with lifting, there are sequences that keep coming back, I don’t know if it’s old work, but it’s a key that often leads to something new and surprising.

It’s his world, his realm, that’s what is real in that moment.

It’s reassuring to know, that as a dancer, the dance never leaves you’.

Thank you to everyone who has supported the employment and development of our incredible Engagement staff. Their skillset makes it possible for us to offer tailored support in each of our classes.

Norman’s film is available to watch on our website scottishballet.co.uk/tv/normans-film With special thanks to the following supporters of our neurological dance health activities; Baillie Gifford, Life Changes Trust, Paul Hamlyn Foundation, Elizabeth Frankland Moore and Star Foundation, The Agnes Hunter Charitable Trust, The Alma & Leslie Wolfson Charitable Trust, The BJ Trust, The Martin Connell Charitable Trust, The Rayne Foundation, The RS Macdonald Charitable Trust, The Robertson Trust, The Sylvia Aitken Charitable Trust, Norman & Pam Murray, Edward and Jean Murray, Elizabeth J. Brittin, one anonymous patron and all our 50th Anniversary Gala guests who donated to Time to Dance last year.

— SP

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Dancer Norman Douglas with Dance Artist Hayley Earlam.

Photos by Eve McConnachie.

Above the Clouds

Company dancers in The Snow Queen. Photo by Andy Ross.

Minds matter It’s true, dancing helps keep us physically fit. What about the other health benefits? At Scottish Ballet, we believe in good mental health for all. A dancer, a legator and a sponsor tell us what that means to them.

Artist Jamie Reid in rehearsal for Highland Fling.

Photo by Andy Ross.

Did you know we have 20 qualified Mental Health First Aiders at Scottish Ballet? That’s one in four of the company, making it possible for anyone to talk no matter where we are.

Artist Jamie Reid tells us, ‘you used to get told if you were suffering with mental health issues to ‘man-up’ and get on with it. But for a lot of people, all they need is for someone to listen to them. It’s amazing how much of a difference listening and having a conversation can make. You can take a weight off someone’s shoulders just by listening’.

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Edinburgh family business, Contini, has been sponsoring Scottish Ballet since 2009. Founder, Carina Contini’s latest project, Serving You Well recognises the challenges of that golden work/life balance so many of us strive for. She says, ‘the pattern is that you work to look after family but sometimes work becomes a priority. In the catering industry, this is amplified, because we are usually working when others want to play. Like dancing, there’s an emotional labour involved in responding to customers’ increasing expectations too. It’s not surprising that there is a high instance of mental health issues in the hospitality trade’.

Serving You Well involves a whole package of benefits for Contini staff, including access to free advice for everything from finance to health issues and initiatives like Wellness Wednesdays, where the whole restaurant takes part in physical exercise. They’ve also developed a series of online videos with targeted exercises for each department of the restaurant.

Carina says, ‘we are always trying to think of new ways to keep staff interested, like Scottish Ballet — we want to be the best we can. We take great inspiration from the company. I often retweet Principal, Bethany Kingsley-Garner, her words are so motivational. Happiness is important, your body can achieve if your mind is in the right place’.

Company dancers in The Snow Queen. Photo by Andy Ross.

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Scottish Ballet corporate partner, Carina Contini of Victor & Carina Contini, Edinburgh.

Photo by Zoe Barrie.

Scottish Ballet patron and legator, Maggie Smith. Photo provided

by Maggie Smith.

Maggie Smith first met Scottish Ballet in Stornoway in the 70s. After years of attending ballet lessons in the local scout hall, she saw a live performance on the island. Her excitement and love for ballet was eternalised by meeting the dancers at a friend’s party after the show.

Maggie now regularly enjoys live ballet performances, and scouts for the latest dance films available online. For her, watching ballet means joy. Maggie says, ‘ballet offers pure, utter escapism. The exquisite dance, the colourful costumes and sets, the sparkle, glitter and precision are a source of joy’. One of the reasons that Maggie decided to pledge a legacy in her Will to The Scottish Ballet Endowment Fund was to, ‘allow others in the future to feel that joy’, Maggie explains.

‘I have been proudly contributing to Scottish Ballet for years and I am glad to make future provision through a legacy.

Reading Backstage and the Friends’ events and e-newsletter makes me feel included by the company, I know what I’m contributing to. I believe the company is an important part of Scotland’s offering to the wider world, both on stage and beyond. Scottish Ballet’s steps in dance health are very exciting, giving opportunities for even more people in Scotland and internationally to benefit from dance. That is why I support Scottish Ballet’.

Thank you to the Contini family and Maggie Smith for all their support.

If you are interested in learning more about The Scottish Ballet Endowment Fund and becoming a patron of The Darrell Bequest Circle, please see back page for our upcoming legacy event details or contact Antonia Brownlee, Head of Philanthropy on 0141 331 6290, email antonia.brownlee@scottishballet.co.uk or visit scottishballet.co.uk/support.

— SP

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You Inspire Us Trusts & Foundations Barcapel Foundation, Elizabeth Frankland Moore and Star

Mark Llewellin, Andrew Low, Douglas Maccoll, Eileen Mackay, Colin Mackenzie-Blackman, Fiona MacLeod, Dr Chris & Gill Masters, Alison Melville, John Newton, Fiona McKenzie Perry, Dr Jennifer Quin,

Foundation, Garfield Weston Foundation, John Mather Charitable

Rosemary Rankin, Dawn Robertson, Steven Roth, Caroline Roxburgh,

Trust, MacTaggart Third Fund, Scottish Enterprise, The Alma & Leslie

Alison Scott, Murdoch & Jenny Shirreffs MBE, Janet Smith, Maggie

Wolfson Charitable Trust, The Castansa Trust, The Cruden Foundation,

Smith, Graeme Taylor, James Watt, Mike & Margaret Winter & six

The Esterson Trust, The Hugh Fraser Foundation, The JTH Charitable

anonymous patrons

Trust, The Martin Connell Charitable Trust, Life Changes Trust, The Linbury Trust, The MEB Charitable Trust, The Mickel Fund, The Mrs M A Lascelles Charitable Trust, The Monument Trust, Paul Hamlyn Foundation, Rayne Foundation, The Robertson Trust, The RS Macdonald Charitable Trust, The Spifox Foundation, The Turtleton Charitable Trust, The Sylvia Aitken Charitable Trust, The W A Cargill Fund and The family of the Wendy Hamilton Scholarship Fund Private Gifts Scottish Ballet warmly acknowledges our patrons who help us to deliver excellence on and off the stage: Lifetime Gift Patrons Norman & Pam Murray

The Darrell Bequest Circle To help bring the beauty of ballet to future generations, the following patrons have left a gift in their Will to The Scottish Ballet Endowment Fund: The Monument Trust, Susan F Anderson, Marion McGadie Baird, John Bogle, Dean Fostekew, Sarah Graham, Norman & Pam Murray, Fiona McKenzie Perry, Maggie Smith, Alastair Stewart, David Taylor, Eleanor Taylor, Isobel Thompson & 26 anonymous patrons Five in Five Campaign Founding Patrons The Monument Trust, The Viewforth Trust, Geoff & Mary Ball Lead Patrons Ian & Lesley Curle, Kate & Gavin Gemmell, The Munro

Director’s Circle Gold Jacquelynn Craw, Kate & Gavin Gemmell

Foundation, Anne Reece, Fiona & Ian Russell, The Turtleton Trust

CBE, Anne Reece, Fiona & Ian Russell, Bill & Mary Scott & two

& one anonymous patron

anonymous patrons Director’s Circle Silver Wendy Bannerman, Eleanor Bentley, Michael Berry, Stewart & Janie Clark, Clive Criper, Sir Sandy & Lady Crombie, Ian & Lesley Curle, Sir Bill & Lady Gammell, Christopher Hampson, Mary Hitchon, Eimear Keenan, Katharine M E Liston, Frederick Hay & Annabeth McLean, Deirdre Michie, Stephen Moss CBE & Joy Moss MBE, Norman & Pam Murray, Juliette Paton MBE, Caroline Roxburgh, Alastair & Sheila Stewart, Simon Thomson & one anonymous patron Director’s Circle Susan & Kathleen Anderson, Campbell Armour

Principal Patrons Sandy & Wendy Bannerman, Mike Rutterford & Susan Christie & one anonymous patron Ambassadors Barbara Allison, Susan & Kathleen Anderson, Anna Bateson, Eleanor Bentley, Ted Brandsen, Jann & Tony Brown, Stewart & Janie Clark, Neil & Nicola Gordon, gofastforward, Mandy Graham, Sophy Green, Rachel Gwyon, Christopher Hampson, Giles Hedger, Mary Hitchon, Mark Llewellin, Stephen CBE & Joy Moss MBE, Catherine Muirden,Norman & Pam Murray, Joyce Pringle, Juliette Paton, Steven Roth, Keith Ruddock, Alastair & Sheila Stewart, Helen Stuart, Malcolm Thoms, Kirsty Wark

& Angus McLeod, Iain Barclay, Marie Bartlett, Anna Bateson, Jack Bogle, Steve & Helen Bull, Fiona Cairns, Dennis Carmichael, Desmond Cheyne, Nye Cooper, Rosalinda D’Agostino, Liz Danby, Gillian Docherty, Bill Doig, John Dover, Elaine Falconer, Elspeth Fleming & Gordon Campbell, Dean Fostekew & William Mounsey, Heather Gordon MBE, Peter Hastie, Faye Hay, Frank & Shirley Howell, Mandy Graham, Lana Joyce, Lord Cameron of Lochbroom,

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Top: Scottish Ballet performing The Snow Queen. Photo by Andy Ross.

Be Part of Scottish Ballet Your Post BBC Five Wishes

The BBC Five Wishes documentary will have brought your work off stage to a much wider audience, I am so proud to support Scottish Ballet even in a small way, looking forward to Swan Lake, The Scandal at Mayerling and next Christmas’ The Nutcracker! — Principal Friend, Ann Thewliss

Share your feedback, ideas, pictures and insider knowledge @scottishballethq @scottishballet @scottishballet

Win a Ballet Prize

Unthawing The Snow Queen

An excellent event. It was so good to hear how the music was put together and the history behind it. Soloist, Thomas Edward’s experiences with costumes were hilarious! The rehearsal was so good to see and Rehearsal Assistant, Tamarin Stott’s explanations were very helpful. All in all, another great event. — anonymous Friends’ event feedback

For your chance to win our Swan Lake t-shirt please answer the following question:

Preview to Scottish Tour

It was great to see The Crucible again, it seemed even more dramatic than the world premiere! Barnaby [Rook Bishop] was stupendous. He and his fellow dancers were wonderful. All of this has of course whetted our appetite for The Snow Queen!

— Five in Five Lead Patrons, Ian & Fiona Russell What are our swans not wearing in David Dawson’s Swan Lake?

To enter, either send it to us by email or post with your name to: Sarah Potter, sarah.potter@scottishballet.co.uk Scottish Ballet, Tramway, 25 Albert Drive, Glasgow G41 2PE The correct answers will be pulled from a pointe shoe on Tuesday 5 May 2020.

From the Five Wishes documentary, pupils from Academy Street Dance Studio, Aberdeen. Photo by Sally Jubb.

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Spring at a Glance This is My Body...

Swan Lake

10 – 15 March, Joyce Theater, New York 31 March – 3 April, The Linbury, Royal Opera House, London

9 – 11 April, Festival Theatre, Edinburgh, 0131 529 6000 16 – 18 April, His Majesty’s Theatre, Aberdeen, 01224 641 122 23 – 25 April, Eden Court, Inverness, 01463 234 234 29 April – 2 May, Theatre Royal, Glasgow, 0844 871 7647

Visit scottishballet.co.uk for more information.

Friends’ Events Stamina for Swan Lake — SOLD OUT

Scottish Ballet, Tramway, 25 Albert Drive, Glasgow, Thursday 19 March, 5.30pm – 7.00pm Known to be one of the most technically demanding ballets, hear from dancers and our Physiotherapist, Martin Lanfear, about the physical preparation required. Stay for rehearsal.

Ballet Stars of the Future

Scottish Ballet, Tramway, 25 Albert Drive, Glasgow Saturday 21 March, 11am – 1pm A rare opportunity to watch our Associates. Hear from company dancers who have benefitted from the programme.

You never know, you may spot the future faces of Scottish Ballet!

Booking Details For all performances and Friends’ events please see our website scottishballet.co.uk.

Channelling Tchaikovsky

Monday 6 April, Glasgow, Venue & Time TBC Join us as the Scottish Ballet Orchestra come together for the first time to rehearse Tchaikovsky’s rich and emotive Swan Lake score. Hear from Music & Orchestral Services Manager, John Davidson, and principal musicians.

Secrets from the Pit

His Majesty’s Theatre, Aberdeen, Saturday 18 April, Time tbc Eden Court, Inverness, Saturday 25 April, Time tbc Have you ever wondered how the Scottish Ballet Orchestra get performance-ready? Join us at your local theatre to hear musicians and dancers discuss the joys (and challenges!) of performing live.

A Living Legacy (Free Event)

Edrington, 110 Queen Street, Glasgow G1 3DN, Thursday 28 May, 5.30pm – 7pm An exclusive evening to learn about The Scottish Ballet Endowment Fund and The Darrell Bequest Circle. You will be treated to a private performance and hear about future plans from Scottish Ballet Chairman, Norman Murray and CEO/Artistic Director, Christopher Hampson.

Cost for Friends’ events is £5 for Friends and £10 for guests of Friends. Limited to two people.

To book, please call Olivia Calder on 0141 331 6291, email olivia.calder@scottishballet.co.uk or visit scottishballet.co.uk/support.

Top: Behind the scenes of Swan Lake photoshoot. Photo by Drew Forsyth.

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