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 Post subject: Scottish Ballet Performances 2003-4
PostPosted: Sat Sep 27, 2003 12:46 am 
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Location: London, England; Tallinn, Estonia
Scottish Ballet
By Judith Mackrell for The Guardian


When Ashley Page agreed to take on the ailing Scottish Ballet, he insisted that he wouldn't be running just another minor ballet troupe. Certainly, Edinburgh's first glimpse of its revamped national company showed it had changed out of recognition. Page's determination to present world-class choreography means that he has drawn his repertory equally from ballet and modern dance. His determination to sell that vision means that he has insisted on dancers who are capable of performing at extremes of the stylistic range. Even those who might not share Page's taste in choreography must acknowledge that he has hired a fabulously talented company.

The single factor uniting the programme is a highly evolved sense of form. In Richard Alston's Dangerous Liasons (1985), the choreography seems to be patterned around the intricate internal wiring of Simon Water's electronic score.

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Pressure tells as comeback ballet falters
By THOM DIBDIN for The Evening News (Edinburgh)

SCOTTISH Ballet returned to the stage last night with a programme of vibrant choreography that failed to live up to its promise.

It has been a long time since anyone saw anything of Scottish Ballet. In the interim, dancers have been sacked and the whole company given a complete makeover by new artistic director Ashley Page, who declared this new tour their make or break.

It was a dreadful thing to do to his dancers. The pressure on them to succeed last night showed from the word go.

In choreographic terms, Dangerous Liaisons by Richard Alston was exactly the sort of signal Page needed to make.

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Scottish Ballet
By Kelly Apter for The Scotsman

IT WAS one of those nights when the audience banter was almost as interesting as the show itself. After a year behind closed doors, few people knew what to expect from the revamped Scottish Ballet. Had the new artistic director, Ashley Page, implemented the proposed change of direction, moving the company over to a more modern agenda? Would the hotly tipped new recruits (over half the original dancers have been replaced) come up with the goods under the extreme pressure of a relaunch? The answer to both is a resounding yes.

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<small>[ 13 April 2004, 10:15 AM: Message edited by: Stuart Sweeney ]</small>


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 Post subject: Re: Scottish Ballet Performances 2003-4
PostPosted: Mon Sep 29, 2003 2:29 am 
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Location: Guildford, Surrey, UK
Review from The Times.

Quote:
IF ASHLEY PAGE wanted to wake up his audience, this is certainly the way to do it. He has opened his inaugural season as artistic director of Scottish Ballet with a mixed bill that presents a practically unrecognisable company.
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 Post subject: Re: Scottish Ballet Performances 2003-4
PostPosted: Thu Oct 02, 2003 7:17 am 
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Location: London, England; Tallinn, Estonia
Scottish Ballet Festival Theatre
By Clement Crisp for The Financial Times


The name's the same, but nothing else. Scottish Ballet has been re-launched and, I suppose, re-thought. The company that Peter Darrell created and so splendidly led for two decades fell on increasingly hard times after his death in 1987. Darrell had given it an identity which combined national and international ideals, and used Scottish musicians and painters and brought Scottish themes to the stage.

All this, if Thursday night's first programme under Ashley Page's direction is anything to go by, is in abeyance. The ensemble looks strong, but the repertory, to judge by the four works on offer, is fashionable rather than national. There is nothing wrong indeed, there is everything right - with Richard Alston's Dangerous Liaisons and Siobhan Davies's White Man Sleeps.

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<small>[ 02 October 2003, 09:18 AM: Message edited by: Stuart Sweeney ]</small>


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 Post subject: Re: Scottish Ballet Performances 2003-4
PostPosted: Sat Oct 04, 2003 11:11 am 
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Scottish Ballet, Tramway, Glasgow
By MARY BRENNAN for The Herald

LAST night, at the Tramway, Scottish Ballet got up close and personal with its audience. Those of us who sat in the front row were scarcely a yard away from honed and toned bodies going for gold in the "extreme" choreographic stakes.

But even as you were made aware of the effort involved in swift shifts of partnering – especially when the women are on pointe, with normal balances being skewed at almost every turn.

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 Post subject: Re: Scottish Ballet Performances 2003-4
PostPosted: Sat Oct 04, 2003 11:13 am 
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Location: London, England; Tallinn, Estonia
Scottish Ballet
By Debra Craine for The Times


IF ASHLEY PAGE wanted to wake up his audience, this is certainly the way to do it. He has opened his inaugural season as artistic director of Scottish Ballet with a mixed bill that presents a practically unrecognisable company.

Since leaving the Royal Ballet a year ago, Page has been hard at work in Glasgow getting his Scottish troupe ready for this seismic shift. He’s hired so many dancers that almost half the company is new; he’s brought in guest teachers to coach them in a variety of styles; and he’s started the long process of changing the repertoire. All in an attempt to give Scottish Ballet, in a desperate state when he took over, a new identity.

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 Post subject: Re: Scottish Ballet Performances 2003-4
PostPosted: Sat Oct 04, 2003 11:33 pm 
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Location: London
Umbrella's birthday party was a joyous celebration of movement and music

Jann Parry
Sunday October 5, 2003
The Observer

Dance Umbrella gala Sadler's Wells, London EC1
Michael Clark Sadler's Wells, London EC1
Scottish Ballet Edinburgh Playhouse

Quote:
Val Bourne's prescription for a Dance Umbrella gala is that it must be fun. Newcomers to postmodern dance should have their eyes opened to the range of what is possible.
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 Post subject: Re: Scottish Ballet Performances 2003-4
PostPosted: Sat Oct 04, 2003 11:40 pm 
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Location: London
David Dougill sees an uneven mix of new blood in Scotland, old gods in Birmingham


Quote:
Following last Christmas’s cosy performances of The Snowman, Scottish Ballet quitted the stage for a complete revamp. The company (created in 1969), which enjoyed a high and individual profile under its genius of a founder-choreographer, the late Peter Darrell, lost impetus over the past decade — increasingly sidelined on the British dance scene
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 Post subject: Re: Scottish Ballet Performances 2003-4
PostPosted: Wed Oct 08, 2003 1:11 am 
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Location: Guildford, Surrey, UK
review from The Independent.

Quote:
Well, has he done it? Ashley Page, Scottish Ballet's new artistic director, was hired to rescue the company. It had been in crisis since its last director left two years ago; or since the previous one left, some time before that. The chief executive announced a move to contemporary dance, then backpeddled after complaints from loyal supporters. Financial troubles led to questions in the Scottish Parliament. Dancers lost heart and left.

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 Post subject: Re: Scottish Ballet Performances 2003-4
PostPosted: Wed Jan 28, 2004 2:55 am 
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Article from the Scotsman on Scottish Ballest's laest, slightly risque production.

Quote:
FOR fans of Scotland’s national ballet troupe it was deemed simply too shocking to pass without comment.

The name MiddleSex Gorge hinted at the fact Scottish Ballet’s latest production would get a bit racy.

But Edinburgh theatre-goers are being warned before buying tickets for the dance company’s new show that they will see bare bums.
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 Post subject: Re: Scottish Ballet Performances 2003-4
PostPosted: Thu Mar 18, 2004 7:27 am 
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Quote:
Temperamental genius

By MARY BRENNAN
The Scotland Herald
March 18, 2004

When Ashley Page first sketched out his intentions as Scottish Ballet's artistic director, he determined that the dancers would tackle Balanchine's Four Temperaments one day "when they're ready".
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 Post subject: Re: Scottish Ballet Performances 2003-4
PostPosted: Sun Mar 28, 2004 6:27 am 
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Quote:
Paying tribute to a dance genius

By JACKIE MCGLONE
The Scotland on Sunday
March 28, 2004

PATRICIA Neary is teaching Ashley Page’s revivified Scottish Ballet company one of George Balanchine’s most epic neo-classical ballets, The Four Temperaments. Set to a masterwork by composer Paul Hindemith, it premiered in 1946 and remains one of the Russo-American dance makers’ most seminal works.
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 Post subject: Re: Scottish Ballet Performances 2003-4
PostPosted: Wed Mar 31, 2004 11:49 pm 
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Quote:
Dance - Scottish Ballet

MARY BRENNAN
The Scotland Herald
April 1, 2004

Something old, new, borrowed, blue . . . Scottish Ballet's spring programme marries heritage to forward-looking ambition and an impressive variety of styles.
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 Post subject: Re: Scottish Ballet Performances 2003-4
PostPosted: Fri Apr 02, 2004 12:35 am 
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Quote:
Mixed bill
Theatre Royal, Glasgow

By ALICE BAIN
The Guardian
April 2, 2004

Scottish Ballet is radiant. Under the guidance of its new artistic director Ashley Page it has, in the past 12 months, shown potential in a couple of mixed bills and a new Nutcracker. This spring, however, it has arrived at a new place altogether.

The dancers are confident and sassy, and sock it to the audience. There's no holding back.
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 Post subject: Re: Scottish Ballet Performances 2003-4
PostPosted: Fri Apr 02, 2004 12:46 am 
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Quote:
Scottish Ballet, Theatre Royal, Glasgow

By MARY BRENNAN
The Scotland Herald
April 2, 2004

Ashley Page is on record as saying: "Balanchine when they're ready." Last night this was a company ready for anything. It's attitude as much as the minutely-honed technique they now bring on stage. These dancers want to kick ass.
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 Post subject: Re: Scottish Ballet Performances 2003-4
PostPosted: Sun Apr 04, 2004 3:49 am 
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Posts: 3375
Location: Canada
From the News in Brief section of 'The Sunday Times':

"Ballet Accused"

Scottish Ballet has been accused of mismanagement after paying more than £250,000 to terminate the contracts of six dancers last year. The dancers, some of whom were at the end of their careers, and others who had fallen out of favour with the new artistic director, negotiated an average £37,755 each by threatening to pursue unfair dismissal claims. The revelation came when the company published last year's accounts.

My comment:
I'm not very knowledeable about ballet company organization in the UK/Scotland, but this makes it sound like the dancers are not part of any union (??). Wouldn't a union contract lay out guidelines for termination and any related benefits, thus making this a non-issue.

Anyone better educated about dancer contracts/company organization in the UK, please post!
Kate


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