Dance review: Scottish Ballet - Carmen/Cheating, Lying, Stealing

Published on Thursday 16 April 2009 18:53

AS A NATIONAL ballet company in receipt of public funds, Scottish Ballet has to be all things to all comers.

On one side you have the fans of classical ballet, who like their pointe shoes pink, their music played by an orchestra, a storyline and a stage filled with pretty costumes. On the other, you have lovers of modern ballet, with its angular moves, contemporary music and abstract narrative. Not to mention newcomers who aren't entirely sure what they want, other than simply to be entertained. Well, Scottish Ballet's latest double-bill satisfies them all.

Richard Alston is best known as a contemporary choreographer, regularly delighting Scottish audiences with his own ten-piece company. Having been let loose on 20 dancers, Alston has had a ball, and Carmen is a delight to behold. Beginning with a surprisingly pale set, Alston soon fills the stage with colour. Not just courtesy of Antony McDonald's beautiful costumes, but through astute characterisations. Carmen is a feisty, sexual being who switches from streetcat to seducer in the twist of a pointe shoe. Conversely, Don Jos is the picture of vulnerability, especially when compared to the rock-star confidence of Escamillo, the toreador. The supporting ensemble regularly come together for glorious moments of synchronicity. If there's a complaint, it's that, at 50 minutes, Carmen is too short – we could easily have lost ourselves in Alston's choreography for double that time.

Artistic director Ashley Page's Cheating, Lying, Stealing completes the bill and despite its theme of destructive passion, couldn't be more different from Carmen. Quirky, contemporary music played live behind the action, modern costumes, fast-paced choreography, a flaming sofa and one of the best performances the principals of this company have ever given. An evening of world-class dance.