Dance review: Scottish Ballet, Theatre Royal, Glasgow

Stepping out from behind the curtain, Scottish Ballet’s new artistic director, Christopher Hampson, introduced himself to his public.

Scottish Ballet

Theatre Royal, Glasgow

Star rating: * * * * *

An unusual move, but one which endeared him 
to the audience, and tied him 
to the work about to be performed.

Hampson isn’t responsible for Scottish Ballet’s autumn season – this is still the legacy of former head, Ashley Page. But if he can lay claim to anything that happened on stage, he should be a very proud man.

Regardless of the choreography, the quality of the dancing alone was enough to position the current Scottish Ballet troupe alongside the world’s finest dance companies. Happily, the three works performed on this tour not only match the high technical standard, they showcase it beautifully.

Martin Lawrance is the baby choreographer in the pack, but is developing superbly under the wing of Richard Alston. His Run For It is an exercise in athleticism, proving that dancers are every bit as fast, flexible and driven as the Olympians we watched this summer.

William Forsythe’s Workwithinwork followed, danced on a bare stage with minimal lighting, but with sequined vests and crushed-velvet tops to spice it up, Not that Forsythe needs any extra ingredients; his choreography is a masterclass in unique, quirky moves that hold the gaze.

The inimitable Hans van Manen closed the evening, with his delightful 5 Tangos. Dressed in striking black and red costumes, the dancers looked sharp enough to cut themselves, with slick synchronised moves to match.