Choreography from Cayetano Soto, Sophie Laplane, Peter Darrell, and Madeline Squire
Review by Annie Aslett
In his welcome in tonight’s programme, Artistic Director Christopher Hampson sums up Scottish Ballet’s repertoire as “bold new work, charged contemporary and iconic classical”. For two nights only, Scottish Ballet is at The Beacon in Greenock, presenting a gorgeous mixed bill of four diverse yet individually magnificent pieces; the company have put together the perfect line-up to exemplify their ethos.
The first movement, Schachmatt, means “Checkmate” in German; it’s a witty performance that sees the dancers move in tight formation as chess pieces (on a chess board, if you’re high enough to see the black and white squares on the floor). The outfits are reminiscent of soldiers; choreographer Cayetano Soto plays with this regimentation as dancers move with extreme precision and synchronicity, yet with tongues firmly planted in cheeks, creating a satisfying balance of thematic light and shade.
“Iconic classical” doesn’t get any more iconic or classical than the Duet of the Sugarplum Fairy and Nutcracker Prince, performed by Anna Williams and Harvey Littlefield. The harmony between Tchaikovsky’s warmly familiar music and the breathtaking ease with which Williams and Harvey perform Peter Darrell’s choreography is the epitome of balletic pleasure for an audience. It exemplifies what attracts so many to ballet; how can something so unfathomably difficult appear so effortless and light? This sneak preview of this iconic number is sure to drive audiences to see the Scottish Ballet’s full production of The Nutcracker this winter.
The Nutcracker duet uses a traditional pas de deux structure, so is followed neatly by the world premiere of a new piece choreographed by Scottish Ballet dancer, Madeline Squire. Echo Echo sees Squire present her own take on the pas de deux format (duet, solo, solo, coda), as dancers Harvey Evans and Kayla-Maree Tarantolo perform a freer interpretation of the romantic duet. The give-and-take, inhale-exhale collaboration between the dancers is reflected in the piece’s form, a less rigidly apportioned pas de deux that evokes the whirlwind of the relationship between the pair. The music by Caleb Arredondo was recorded in a multi-storey car park; the result is a dissonant, almost uncomfortable sound, echoed in the angular, animalistic movements of the dancers, who twist and writhe in the throes of romance and heartbreak.
Dextera is the thought-provoking centrepiece of the evening, choreographed by Sophie Laplane. Set to the music of Mozart, Dextera is “an ode to creators and their hands”, brought to life by bright orange gloves worn by the “creators” in the performance. The gloves are a symbol, the concept of “creativity” given life through the focus on the hands as the driving force of the movements. We see creators move through periods of creative flow, artistic block and creative frustration, to (literally and figuratively) taking the gloves off and letting the art take them where it will.
There is surely a commentary here on gender roles, as the men are largely cast as the red-gloved creators, moulding their works of art, the female dancers. This is so in focus during the first part of Dextera that all you are waiting for is for one of the artworks to rip the gloves from her creator’s hands and take control; both a relief and a thrill when it happens. The dual image of the gloves on the hands of the men and the hand-prints branding the women’s leotards (costume design by Elin Steele) conjures an unpleasant yet relevant comment on perceived male ownership of women’s bodies. It would be interesting to see this work explored with a less rigid gender split, if only to spark new ideas in the audience. As it is, this layered piece encourages the audience to draw their own meanings from Laplane’s dynamic and thought-provoking choreography.
Seeing the awe-inspiring performers from the Scottish Ballet present such a varied line-up of pieces is a fantastic opportunity for both ballet lovers and those newer to the art-form to absorb the vital landscape of modern and classical ballet. Having also performed this show at the Alhambra Theatre in Dunfermline, the Scottish Ballet only have one more night at the Beacon in Greenock, so don’t miss out on your chance to catch this feast of dance.
Awe-Inspiring
Scottish Ballet at The Beacon, Greenock, runs until 9th November.
Running time – One hours and forty-five minutes with one interval
Photo credit – Scottish Ballet
Review by Annie Aslett – contact@corrblimey.uk
Annie is a not-so-recent graduate of the University of Edinburgh with a degree in French and Spanish, along with a Masters in Translation from the University of Glasgow. A Spanish teacher for three years, she decided to leave the classroom behind to pursue personal goals and has since been regularly reviewing for Corr Blimey’s Glaswegian wing. Annie is a life-long lover of musical theatre, whose childhood performances included a rousing production of Snow White in The Hall and a heartfelt rendition of Go, Go, Go Joseph in The Living Room.
