| 06 September 2009
Edinburgh Playhouse
4-5 September, times vary.
This was a treat for everyone present. Celebrating its 40th birthday, Scottish Ballet put on a trio that spanned 60 years of ballet: Frederick Ashton’s ‘Scenes de Ballet’ (1947), William Forsythe’s ‘Workwithinwork’ (1973) and Ian Spink’s updated version of the 1911 Stravinsky/Fokine/Diaghilev ballet, ‘Petrushka’.
The contrasts between the ballets, and the talent of the corps made this a visually stunning, totally engrossing joy to behold.
The curtain rose for the first time that evening, to unveil a dramatic, almost muscular set based on classical design. ‘Scenes de Ballet’ set to Stravinsky's Broadway score, was characterised in almost every facet by geometry. As the dancers aligned themselves in their geometric formations, in their patterned pastel tutus and tunics, amid the Baroque-classical pillars that formed the backdrop; the crisp lines and glamour of the 40s was evoked with effortless chic.
‘Workwithinwork’, despite just a 20 minute interval, was another world away. Classical architecture was replaced with an utterly stark, black set. Only a slight variation in the tone of the backdrop formed a kind of wide-screen effect, narrowing the audience’s focus to an eight foot strip. Lithe dancers broke free from symmetry and order to perform more robust, abstract choreography that bucked the graceful, delicacy of our notions of classical ballet. The style of the choreography (rather than the minimal glittering tops and shorts worn by the troupe) reminded me somehow of a Francis Bacon painting, at other times Charlie Chaplin! The sheer energy of this piece and its disjointed fluidity was astounding.
As we came to the last piece ‘Petrushka’, there was an air of anticipation as we waited for the curtain to rise; now expectant of the latest delight to be unveiled. The realisation of 90’s Russia was breathtaking. From the smoking factory towers, to the puppeteer’s van, and the spectrum of Russian society, the moment the scene was revealed ‘Petrushka’ was visually spectacular. Spink’s modern take on the love triangle depicted was hugely successful and glided through the carnival-esque energy of the market place, to the glitz and glamour of the ‘puppets’ to a quite unsettlingly dark close.
What was most exciting about this arrangement was the way in which the styles of ballet, set and mood juxtaposed with each other. Certainly the best birthday party I have been to in a long while!
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