For more than 40 years, Scottish Ballet has been one of the most vibrant and interesting companies on the UK dance scene. It is a ballet company born of a well considered vision and the desire to prove that there can be good ballet without grandiose spectacle. Indeed, for many years it has been notable for its almost ‘chamber’-like choreographic repertoire, which has included intelligent adaptations of the great classics. Now a new chapter is about to start, as Christopher Hampson takes over the company’s artistic directorship, succeeding Ashley Page and an impressively illustrious roster of equally enlightened directors.
Like many in the dance business, I have long admired the way the company has constantly positioned and marketed itself, successfully tackling an artistically eclectic range of genres and styles, but without ever going beyond its artistic limits. Add to that its good artists and excellent dancers, and you will have a clear idea of why Scottish Ballet has long occupied a very special place in the hearts of ballet-goers and critics alike.
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