Prepare to be dazzled
As Scottish Ballet celebrates its 40th anniversary, Colene McKessick talks to principal dancer Claire Robertson, who has reached a milestone with the company
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IN 1969, Peter Darrell was invited to move his company, Western Ballet Theatre, from Bristol to Scotland, and Scotland’s national dance company was born.
Darrell was one of the most productive and imaginative talents in British ballet. From the outset, he had two guiding aims: to use classical ballet to entertain the widest possible public, and to introduce contemporary themes and the influence of other theatrical skills to the world of ballet.
And so this autumn, Scottish Ballet celebrates its 40th birthday with a special anniversary tour, which visits Aberdeen and Inverness.
Drawing on an eclectic mix of art forms, the vibrant programme includes the deliciously spiky music of Igor Stravinsky in George Balanchine’s dazzling Rubies and also celebrates the spatial relationships and dramatic lighting effects feted by Michelangelo and the artists of the Baroque period in Krzysztof Pastor’s luminous In Light and Shadow. A new addition to the company’s repertoire is William Forysthe’s hyperkinetic Workwithinwork, completes this special anniversary programme from a range of dancer-turned-choreographers at their most sublime.
One dancer particularly appreciative of the company’s anniversary is Claire Robertson. Principal dancer Claire is celebrating 15 years with the company this year, after an unconventional start.
“I was very lucky to get a position with Scottish Ballet,” said Claire.
“The way I got my job was a bit unusual. Most people finish three years of training and then go on a slog of auditions. but I auditioned without even realising. The director of Scottish Ballet came to watch me in one of my final school shows, so I didn’t have to audition as such. After the show, I was offered a three-month contract, and it has been renewed ever since. That was my first job, I didn’t even have to look, and to be offered a contract with such a prestigious company was amazing.
“I had seen Scottish Ballet many times, and heard such wonderful things about them. I loved their repertoire; they did a lot of varied work which was exactly what I wanted to do. So yes, I was very lucky; I got my dream job first time round.”
Claire features in each of the anniversary season’s pieces, and explains that although they are three very different styles, there is a definite theme running through them.
“Rubies is a very fun piece. It’s New-York themed, having been inspired by the glittering creations Balanchine saw in the window of Van Cleef & Arpels’ jewellery salon on Manhattan’s Fifth Avenue,” said Claire.
“It’s really enjoyable to do; it’s a happy piece where you can interact with the audience, and you can see them smiling back at you. It’s technically a very difficult piece, as it’s upbeat and quite puffy, but it’s wonderful to perform, and so fitting for the anniversary.”
Performed to the beautiful slow-building arch of Berio’s Duetti for two violins, Workwithinwork features choreography which starts as virtuosic and winding movement before branching out in ever-increasing complexity.
“Workwithinwork is much more contemporary, you can really experiment with your body,” said Claire.
“Whereas Rubies is quite a showy piece where you’re connecting with the audience, Work is much more intimate. It’s about you and your partner. We explore movement and improvisation, which is really exciting. We originally performed it at the Edinburgh Festival earlier this year and it’s nice to progress it further. I learn more about my body and the movements I’m capable of the more I perform it.”
Finally, In Light and Shadow is inspired by a range of Baroque dances and painters, including Vermeer, Rembrandt and La Tour and focuses, as the title suggests, on the interplay of light and shadow as uber-contemporary lines are juxtaposed with the rich and celebratory music of Bach.
“This is the perfect piece to finish on as it ties together the two previous pieces – contemporary moves with beautiful classic music,” said Claire.
“Along with another dancer, I do the opening duet in this piece. It’s very quiet; you could hear a pin drop. The atmosphere is almost surreal. It’s so quiet that you perform it, walk off stage, and think ‘did that just happen?’. It’s a fantastic piece to immerse yourself in; it’s very emotional. And then, the group comes on, smiley and upbeat; it’s such a great contrast.”
There is always a buzz when Scottish Ballet tours, and Claire puts the company’s popularity down to the man in charge – Ashley Page.
“I think the variety of pieces we do, and the direction in which Ashley has taken the company, is the reason we’re so popular,” said Claire.
“I remember working with Ashley for the first time, and it felt like auditioning. He created his Cinderella on me, and Sleeping Beauty, and I can look back in my career and pick those moments out as definite highlights.
“He’s a wonderful director with some amazing ideas, and he constantly challenges us, which is what keeps us improving. There are times when I’ve thought ‘I’m never going to get this; it’s too hard’, but you always do and the tougher things seem, the bigger the reward is.
“We now have a company with very strong skills and personalities and you can see that coming together on stage. We’re different; we stand out.”
With tickets selling fast for the shows in Aberdeen and Inverness, Claire says that audiences will come away spellbound with the programme.
“People will be entertained; you’ll recognise the music; you’ll be wowed by the dancers. Everyone can take something away from the night.”
Scottish Ballet’s 40th Anniversary Season, sponsored by Adam and Company, and Hamilton and Inches, plays at HM Theatre, Aberdeen, tomorrow and Saturday, and Eden Court Theatre, Inverness, on Friday, October 30, and Saturday, October 31. For tickets, visit www.boxoffice aberdeen.com or www.eden-court.co.uk
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