Search the Community

Hi Everybody, I can't say how excited I am to soon finally be announcing the winter season of BALLET NIGHTS 2023 ! -- "BALLET NIGHTS presents compèred evenings of Classical Ballet, Neo-Classical & Contemporary Dance, Up Close and Without Compromise." Concept Launch October 2021 -- After all of the support from the forum members on here giving feedback, suggesting dates, requesting acts and letting me and my team know what they are looking for in our uniquely up-close Ballet experience with the stars, I am thrilled to exclusively release an early access mailing list sign up below, with an invite-only offer to follow shortly after. EXCLUSIVE ACCESS LINK I look forward to revealing our new website soon, our upcoming event schedule, our backstage access and our exciting run of never-before-seen content over the coming months, and thank you once again to all who have supported our journey. For now.... here is an exclusive sneak peek at our logo: Jamiel Devernay-Laurence Artistic Director

Hi All, One of the problems that dance on camera faces is a lack of awareness of the transformation qualities that the best-in-class can have on the viewer when screened at scale and in an exciting, atmospheric location. With that in mind, I wanted to draw your attention to the launch of the Messums Dance Film Festival 2023 - a new festival celebrating a still emerging genre of dance and the intersection of dance and film, bringing together exceptional talent and visionary artists from the dance and filmmaking worlds. I was appointed as producer of the new festival by dance visionary Johnny Messum, and his support to bring my own idea of how a film festival for dance should look and feel has been one of my creative reasons for getting up in the morning over the past year of challenges! I will also be hosting the event, for those that know what happens when someone accidentally offers me a mic... https://messumswiltshire.com/exhibitions/event-messums-dance-film-festival/ The festival highlights many known names to the Ballet Community, including performers such as Alessandra Ferri, Antonia Francesci, alongside this years National Critics Circle award winners Scottish Ballet and Jess & Morgs Films. After a stunning week of contemporary dance on that same week, I believe that forumites here will enjoy the incredible setting of the barn at Messums Wiltshire, the fantastic food on offer at the Messums Restaurant and the close connection to the best in modern art kept within their various exhibition spaces. Come and celebrate the launch of our international dance film festival with a strong classical ballet lineage, and make day of it this summer - set in the beautiful Wiltshire countryside venue. Jamiel TRAILER 2023 -

Hi, My DD has been with Scottish Ballet Mid Associates this past year and has been accepted on the associate programme for Royal Conservatoire of Scotland for 23/34. Ultimately her aim is to study the modern ballet degree at RCS…. I’m just wondering I anyone can shed any light as to why fees are SO much more at RCS (when worked out per hour) when the teachers seem to be the same as those at Scottish Ballet???

The Crucible is being danced at Sadlers Wells 14-18 June 2022 so I’ve set up this thread for any thoughts thereon. It got good reviews in 2019. (Mods I couldn’t find a current thread, feel free to merge if I’ve missed one).

If people might have found R & J difficult to follow - just try the Snow Queen! I had absolutely no idea who that little thief was, or why we found ourselves suddenly in a gipsy encampment. And why a circus in Act One? I stuck it out and rushed to Google the moment it was over. Maybe the BBC was the one at fault for not providing some sort of introduction - or maybe Scottish Ballet for not insisting. Apart from that, I quite enjoyed it!!

Hello, First time posting! My daughter is auditioning for part time programmes- she has been accepted at Edinburgh Festival Ballet and SMB. The Scottish Ballet auditions have been moved to July. I have no experience of any of these programmes (she did an associate programme with another company we shall not talk about and didn’t particularly enjoy it). She (we) will need to make a decision about EFB and SMB before she’s even had the SB audition now- does anyone have any experience/knowledge of these programmes??? I’ve heard SB classes can be large? EFB have a maximum of 20 per class... but as they are new they obviously don’t have the presence/reputation of the other two... I’ve also heard S-M B Company is very different to the dance company Sara-Maria Barton was involved with.... any thoughts/experience would be gratefully received!

I searched for a thread on this but didn’t find one. From his Insta postings it would seem that RB Principal Ryoichi Hirano is guesting as Prince Rudolph in several locations including Glasgow, Inverness & Aberdeen. Lucky Scotland.

The Scottish Ballet has a new film out this December. Free online (donation requested) This Christmas, Scottish Ballet will bring the magic of the theatre right into your home. In a deserted city, a young boy stumbles into a theatre. He wanders through the auditorium, where rows of velvet chairs, draping curtains and chandeliers seem to lie in lonely wait for audiences to return. The theatre may be empty, but the show will go on... Starring characters from our most popular festive ballets, the worlds of the Snow Queen and the Sugar Plum Fairy collide when the theatre bursts into life. In this spectacular, feature-length film, you’ll be treated to an extraordinary show filled with acrobats, snowflakes, clowns, princes and – of course – beautiful ballerinas. The Secret Theatre features the choreography of Scottish Ballet founder Peter Darrell and CEO/Artistic Director Christopher Hampson, co-directed for the screen by Jess & Morgs. With set and costumes designed by Lez Brotherston; music by Rimsky-Korsakov and Tchaikovsky, recorded live by the Scottish Ballet Orchestra; and performances from the full Scottish Ballet Company; this Christmas special will be an unforgettable adventure for all the family. The Secret Theatre will premiere on Monday 21 December at 6pm and be available online until Thursday 24 December. Tickets are FREE and must be booked in advance. https://www.scottishballet.co.uk/event/the-secret-theatre

The Scottish Ballet's zoom classes are now available to book. https://www.scottishballet.co.uk/classes

Don't miss this. It's really charming, really well put together and no spare fat on it at an hour's running time. The little boy with the football is brilliant. Available till midnight on Christmas Eve.

This is My Body..., the Scottish Ballet program that opened last night at The Joyce Theater, was super intense!

I see uniformly excellent reviews of this production at the Edinburgh Festival on the Links pages: has anyone actually been to see it?

Hello Has anyone’s child applied for both Scottish Ballet Associate Programme and Ballet West Glasgow Associate Programme? For some year groups there is a clash of audition day/time and so I’m wondering what people are doing in that situation. Please can people PM me (but maybe reply first so others know there might be info/guidance to share?) as I’ve read that it’s best not to discuss in a thread. Thank you 😊

Hi, I’m new to all this. My nine year old has been dancing since she was three and currently does three classes a week and loves it. She has a great build for ballet, small, slim and an incredibly strong core. She has done a couple of Scottish Ballet workshops which she loved and shown an interest in the Scottish Ballet Junior associate programme. However she is very nervous that she will be out of her depth and the others will be far ahead of her at the audition. She is currently studying RAD 2. Can anyone advise on what the auditions are like, what they are looking for, how many are selected etc. Thanks!

Thread for all the mixed-company MacMillan celebrations at the Royal Opera House this autumn. It kicks off tonight with Birmingham Royal Ballet in Concerto, Scottish Ballet in Le Baiser de la fée (or The Fairy's Kiss, if you prefer) and a mixed-company performance of Elite Syncopations, if I'm not mistaken. And to start us off, here's a link back to David's notes on Le Baiser de la fée

PRESS RELEASE 6 October 2017 A MACMILLAN CLASSIC RETURNS AND A ROYAL OPERA HOUSE PREMIERE FOR SCOTTISH BALLET THIS AUTUMN Kenneth MacMillan’s original choreography of The Fairy’s Kiss (Le Baiser de la Fée) was brought back to life on Friday 6 October in a stunning new production by Scottish Ballet at the Theatre Royal, Glasgow. Scottish-born MacMillan created the work in 1960 for The Royal Ballet, and this revival marks the 25th anniversary of his death and its first presentation since 1986. The work will be performed as part of the MacMillan Festival at the Royal Opera House in October – a celebration of this iconic 20th century British choreographer. Several Scottish Ballet dancers will also perform alongside artists from Britain’s other ballet companies in MacMillan’s Elite Syncopations. This will be the first time the company performs at the prestigious London venue. Inspired by Hans Christian Andersen’s The Ice Maiden, MacMillan’s The Fairy’s Kiss stays true to the original tale’s dark edge and in the words of Clive Barnes ‘not only appears as a telling homage to the 19th-century Russian ballets that inspired it, but also as a work full of noble, singing poetry.’ Scottish Ballet’s new production features sets and costumes designed by Gary Harris, who worked closely with MacMillan. The choreographic score has been tirelessly re-constructed by professional Benesh notator Diana Curry over a three month period from fragmented records including piano reductions, rehearsal notes, and poor quality video recordings. The Fairy’s Kiss will be performed alongside Christopher Hampson’s The Rite of Spring (Le Sacre du Printemps). Previously performed by the company at the Edinburgh International Festival in 2013, The Rite of Spring is a brutal and physical response to the raw energy of the Stravinsky score. The Fairy’s Kiss and The Rite of Spring will tour to Glasgow, Edinburgh, Aberdeen, and Inverness this October/November 2017. The Fairy’s Kiss will be performed at The Royal Opera House, London in October 2017. For more details - https://www.scottishballet.co.uk/event/autumn-2017 Scottish Ballet CEO/Artistic Director Christopher Hampson: ‘It is thrilling for Scotland’s national dance company to revive Le Baiser de la Fée, an early work showing the prodigious talents to come from one our most cherished choreographers. Reviving this formative work will allow generations to come to better understand Sir Kenneth MacMillan’s journey from a nurtured, young choreographer to becoming the 20th Century’s most iconic storyteller through dance.’ ADDITIONAL INFORMATION The recreation of The Fairy’s Kiss is generously supported by The Linbury Trust Media partner: WHEN AND WHERE Scottish Ballet performs The Fairy’s Kiss (Le Baiser de la Fée) by Kenneth MacMillan and The Rite of Spring (Le Sacre du Printemps) by Christopher Hampson, at: Theatre Royal, Glasgow Friday 6 & Saturday 7 October 2017 Friday 6 October – 7.30pm Saturday 7 October – 2.30pm & 7.30pm Pre-show and Post-show Talks: Stravinsky Pre-show Talk (Free but ticketed): Friday 6 October - 6.30pm Stravinsky Post-show Talk (Free): Friday 6 October - 9.30pm Festival Theatre, Edinburgh Wednesday 11 – Friday 13 October 2017 Wednesday 11, Thursday 12 & Friday 13 October 2017 - 7.30pm His Majesty’s Theatre, Aberdeen Tuesday 24 & Wednesday 25 October 2017 Tuesday 24 & Wednesday 25 October – 7.30pm Pre-show and Post-show Talks: Stravinsky Pre-show Talk (Free but ticketed): Tuesday 24 October – 6.30pm Stravinsky Post-show Talk (Free): Tuesday 24 October - 9.30pm Eden Court, Inverness Friday 3 & Saturday 4 November 2017 Friday 3 & Saturday 4 November – 7.30pm Pre-show Talks: Stravinsky Pre-show Talk (Free but ticketed): Friday 3 November – 6.30pm Scottish Ballet performs The Fairy’s Kiss (Le Baiser de la Fée) by Kenneth MacMillan, at: Royal Opera House, London Wednesday 18 & Thursday 19 October 2017 Kenneth MacMillan: a National Celebration Performances of The Fairy’s Kiss (Le Baiser de la Fée) by Scottish Ballet, Concerto by Birmingham Royal Ballet) and Elite Syncopations (featuring dancers from The Royal Ballet, Birmingham Royal Ballet, English National Ballet, Northern Ballet and Scottish Ballet) www.scottishballet.co.uk ABOUT THE ARTISTS Kenneth MacMillan Biography Kenneth MacMillan (1929–92) was one of the leading choreographers of his generation. He was born in Dunfermline and discovered ballet while evacuated in Retford in Nottinghamshire during World War II. Aged 15, he forged a letter from his father to Ninette de Valois requesting an audition to Sadler’s Wells School (now The Royal Ballet School). He joined, on a full scholarship, and later entered the Royal Ballet Company. He was Director of the Royal Ballet from 1970–77 and was Principal Choreographer 1977–92. His ballets are distinguished by their penetrating psychological insight and expressive use of classical language. These qualities are demonstrated in his works Romeo & Juliet, Gloria, Manon, Mayerling and Requiem. He created his first major work, Danses concertantes, in 1955 and went on to become one of the world’s leading choreographers. He was the Director of Deutsche Oper Ballet Berlin (1966–9) and Associate Director of American Ballet Theatre (1984–90). He continued to create masterpieces throughout his life, including The Prince of the Pagodas (1989) and his last work The Judas Tree in 1992. He died backstage at the Royal Opera House during a revival of Mayerling. Gary Harris Biography Gary was born in London, and trained at the Arts Educational and the Royal Ballet Schools. He joined the London Festival Ballet (now English National Ballet) in 1978 and was one of the company’s leading soloists until he left in 1985 to pursue a career as a freelance dancer, performing in West End shows, including On Your Toes, La Cage aux Folles and Phantom of the Opera. He has worked the world over as a dancer, teacher, repetiteur and designer. In 1991 he joined the Royal Ballet, London, as notator and repetiteur, working with choreographers such as William Forsythe and Kenneth MacMillan and re-staging the works of Fredrick Ashton. He assisted Kenneth MacMillan in the first staging Manon for the Paris Opera Ballet in 1990, and restaged Song of the Earth for the same company in 1996. He was Associate Artistic Director of the Hong Kong Ballet and choreographed a cast of 1,200 performers for the handover of Macau back to China in 1999. Gary was Artistic Director of the Royal New Zealand Ballet from September 2001 – December 2010. For the RNZB, he restaged Swan Lake, Paquita, Coppelia and Giselle. The company premiered his production of The Nutcracker in 2005 and Don Quixote in 2008. Notable design commissions include The Sleeping Beauty and Raymonda for the National Ballet of China, Christopher Hampson’s Double Concerto for English National Ballet and Saltarello, Esquisses and The Sleeping Beauty for the Royal New Zealand Ballet. Since returning from New Zealand, Gary has continued re-staging the works of Kenneth MacMillan and in 2013, designed Christopher Hampson’s Hansel & Gretel for Scottish Ballet. Christopher Hampson Biography Christopher Hampson joined Scottish Ballet as Artistic Director in August 2012 and was appointed Artistic Director / Chief Executive of Scottish Ballet in June 2015. Christopher trained at the Royal Ballet Schools. His choreographic work began there and continued at English National Ballet (ENB), where he danced until 1999 and for whom he subsequently created numerous award-winning works, including Double Concerto, Perpetuum Mobile, Country Garden, Concerto Grosso and The Nutcracker. Christopher’s Romeo and Juliet, created for the Royal New Zealand Ballet (RNZB), was nominated for a Laurence Olivier Award (Best New Production 2005) and his production of Giselle for the National Theatre in Prague has been performed every year since its premiere in 2004. Christopher created Sinfonietta Giocosa for the Atlanta Ballet (USA) in 2006 and after a New York tour it received its UK premiere with ENB in 2007. He created Cinderella for RNZB in 2007, which was subsequently hailed as Best New Production by the New Zealand Herald and televised by TVNZ in 2009. His work has toured Australia, China, the USA and throughout Europe. Other commissions include, Dear Norman (Royal Ballet, 2009); Sextet (Ballet Black/ROH2, 2010); Silhouette (RNZB, 2010), Rite of Spring (Atlanta Ballet, 2011), and Storyville (Ballet Black/ROH2, 2012). Christopher is co-founder of the International Ballet Masterclasses in Prague and has been a guest teacher for English National Ballet, Royal Swedish Ballet, Royal New Zealand Ballet, Hong Kong Ballet, Atlanta Ballet, Matthew Bourne’s New Adventures and the Genée International Ballet Competition. Christopher’s work now forms part of the Solo Seal Award for the Royal Academy of Dance. Registered in Scotland No:SC065497; VAT Registration No:261 5097 64; Registered Charity No: SC008037; Registered Office: Tramway, 25 Albert Drive, Glasgow G41 2PE

Scottish Ballet had a livestream of a rehearsal of The Fairy's Kiss earlier today. It is still available to view on the Company's Facebook page: The Company will be doing an official World Ballet Day live stream on Thursday 5 Oct via The Royal Ballet’s Facebook profile (The Rite of Spring rehearsal). Exact times TBC. Additionally another Facebook live directly from Scottish Ballet’s profile of warm-up class on stage will take place at approximately 12:15pm on Thursday 5 Oct

I am surprised that Scottish Ballet’s revival of MacMillan’s “Le Baiser de la fée”, based on Han Christian Andersen’s 1861 fairy tale - “The Ice Maiden”, has not raised more excitement amongst Forum members and, since it’s a quiet time I’m being cheeky and uploading some extracts from my own notes, gleaned from many sources in an attempt to whip up interest! It was in April 1960 that Kenneth MacMillan made his first attempt, choreographing his own version for The Royal Ballet with Svetlana Beriosova as the Fairy, Donald MacLeary as the young man and his own Muse, Lynn Seymour as the bride. “He made melting, skimming steps that showed off her fluid movements and luscious feet … she was adorably soft and spontaneous … Beriosova was a grandly fluent fairy”. By then he was the eighth choreographer to tackle the Hans Andersen story! Both Frederick Ashton and George Balanchine had warned him of the difficulties, arising chiefly from the lack of obvious relationships between Stravinsky’s score and Andersen’s narrative. This was Kenneth MacMillan’s third Stravinsky ballet, the previous two being Danses Concertantes (1955) and Agon (1959). He had no time for Stravinsky’s identification of the Fairy with Tchaikovsky’s Muse, or indeed for fairies of any kind: “I’m sick to death of fairy tales” he told The Times in December 1960. But like Ashton he was drawn to the music. For Ashton the instant of the kiss is the climactic ecstatic moment in the young man’s life. But MacMillan had a darker story to tell. “His instinct was for the bride betrayed. His narrative was one of good and evil - of the abandoned bride (“She is the one who is lost”) and a young man in the grip of everlasting darkness.” Most critics at the time reviewed MacMillan’s 1960 version favourably, singling out Lynn Seymour and for special mention: Richard Buckle: a “tremendous success - MacMillan, with his ear to the ground, has perfectly translated into movement the filigree of shimmering insect splendour which is a feature of this score”. Of Lynn Seymour as the Bride, he wrote that she “skims and flits like a happy gnat through her lovely allegretto variation: she has the priceless gift of lending to art an air of spontaneity, and without question makes a triumph of her first created role. Of Svetlana Beriosova as the Fairy. “Her swooping boreal gestures and Alpine style point the difference between god and human”. Alexander Bland (The Observer) wrote: “It is not until the pas de deux that interest quickens, the high point of the evening being soon reached in the fiancée’s solo, a delicious drifting rubato affair, which Lynn Seymour will make into a winner, when she has grown into it”. And so on ….. But despite the positive reviews the ballet did not survive. The reasons were partly that the musical demands of Stravinsky’s score were impractical for a touring company but primarily because of Kenneth Rowell’s set designs. In place of the traditional images of fairyland Macmillan had his designer, Kenneth Rowell, fashion a threatening landscape in dark colours, “an abstract world of rock, gorges, caverns and ominous icebergs” … described by Clement Crisp as “arguably the most beautiful and poetic designs seen at Covent Garden since the war.” These were so complex that, at a time when the Company could call on sixty other works in the repertory, there were only six other ballets with which Le Baiser de la fée could, for technical reasons, be programmed. Of those six some were not compatible on the same programme. MacMillan’s Le Baiser de la fée proved a nightmare to schedule. At a disastrous performance at the Edinburgh Festival the following August the scenery collapsed nearly braining one of the dancers. The ballet was mothballed after only 33 performances. However Le Baiser de la fée continued to fascinate MacMillan and 25yrs later in 1986 he revisited his 1960 original work making changes for a new generation of dancers: Fiona Chadwick, Sandra Conley and Jonathan Cope. He kept most of the choreography he had made for Seymour, but changed the Fairy’s role considerably, “making a new intricate solo for Chadwick, showing off her sense of anger and wilfulness”. It is this production that Scottish Ballet are reviving. In his earlier production, MacMillan’s preoccupation had been with the betrayed Bride, the figure in the ballet truly left alone after the fairy entices her husband away. But in the revised 1986 version, his focus was on the Fairy’s pursuit of the entranced young man, thereby returning to Stravinsky’s original intention: the work as an allegory for the artist’s dilemma, that ordinary happiness must be sacrificed to the muse. “It was the music that naturally attracted me”, he told Clive Barnes, “certainly not the story. I realise that the story is not altogether convincing. But I also found the theme, or, if you like, allegory, extraordinarily interesting.” Barnes commented: “MacMillan cuts to its heart - the artist in society, the man marked out from his fellows, unable to join in their life and dedicated to suffering”. To Mary Clarke of The Guardian who had seen the original ballet in 1960 it seemed that MacMillan had “retained much of what was written for Lynn Seymour – those swirling, circular lifts, those limpid descents when the foot melts into the ground above a bent knee, the sorrow of her exit after desertion. And how marvellous to see MacMillan writing again in a purely classical style.” John Percival of The Times also noted the close resemblances to the 1960 version. “I cannot understand why the earlier version was unsuccessful … it was blessed with superb performances and one of the most beautiful decors ever created for the Royal Ballet, a set of marvellous abstract landscapes by Kenneth Rowell.” Kenneth Rowell’s designs had been destroyed and were replaced with designs by Martin Sutherland but they did not find favour with the critics. In The Observer Jann Parry dismissed the set as unimaginative: “He succeeds in evoking neither the Fairy’s ‘Land beyond Time and Place’, nor the village from which she claims her initially reluctant hostage.” Though seen as Kenneth MacMillan ‘at his most exquisitely classical’, his 1986 production like its predecessor failed to hit a popular chord and once again it shortly disappeared from the repertoire. MacMillan’s original 1960 production was clearly too much, both orchestrally and with its intricate designs, for the Royal Ballet at the time but would probably have fitted well into the Company today in its present home. One would have expected the Royal Ballet to be the Company to revive it now, particularly since they still have several of the 1986 cast including Jonathan Cope among their ranks. However twice bitten, thrice shy and it is Scottish Ballet that have picked up this daunting challenge. They have enlisted the Benesh Notator Diana Curry who worked with MacMillan in the 1980s: “Although the technique was quite new in the 1960s Sir Kenneth always worked with a choreologist and much of Le Baiser de la fée had been recorded. However there was a significant lacuna and that was the solo where the bridegroom, danced by Donald MacLeary in 1960 and Jonathan Cope in 1986, goes looking for his bride and finds himself waylaid by the fairy. Fortunately that scene had been recorded on film which Ms Curry has analysed and notated”. The tricky problem of the design has been entrusted to Gary Harris, I understand at the personal wish of Lady MacMillan. Gary has an hugely impressive CV. “He has worked the world over as a dancer, teacher, repetiteur and designer … in 1991 he joined the Royal Ballet as notator and repetiteur, working with choreographers such as William Forsythe and Kenneth MacMillan and re-staging the works of Fredrick Ashton … He was Associate Artistic Director of the Hong Kong Ballet and then of the Royal New Zealand Ballet until December 2010 … Since returning from New Zealand, he has continued re-staging the works of Kenneth MacMillan and in 2013, designed Christopher Hampson’s Hansel & Gretel for Scottish Ballet.” One has to applaud Scottish Ballet. I have hopes that their revival may prove to be a significant event. Presumably, that is why someone (hopefully the BBC?) has undertaken to film it! Meanwhile I would welcome comments from the more knowledgeable members of the Forum, some of whom I’m sure will have seen one or both of the original productions.

Sorry this is just a quick "OMG it was brilliant!" ...but it was. "Ceci est mon corps" made you grit your teeth to begin with but then really took hold. The all male cast was incredible. If violence can be beautiful, then this was. "Energence" was stunning. On all levels. Amazing. And the company itself is so good - to be praised to the very heights! try and grab a ticket if you can...

Does anybody who auditioned for the Scottish Ballet Mids and Seniors have their letter yet? Due to be out this week and my daughter is on tenterhooks! Also do they give any feedback at all? Fingers crossed for you all

I saw the opening night performance of the new Swan Lake last night at the Liverpool Empire. I didn't like it one bit it was all too minimalist and grey not helped by drab costumes, wishy washy lighting and a very loud orchestra! The dance was so so but the first Act had some very messy choreography and I could not see any acting going on, so had I not read the synopsis I would have been clueless as to what this version was attempting to convey. Never have I wished a Swan Lake to be over before. Trying to find a positive the best bit was Act 4 and there were some good big lifts throughout. Others that I have spoken to liked it and it got a 4 star review (really?!) but it wasn't for me I'm afraid. Interested to hear any other views.

Hi Everyone, I'm new to this forum and also to the world of ballet, so apologies if my questions are naïve! My DD is interested in auditioning for the Scottish Ballet Associates scheme - she would be going for Mid Associates. I was just wondering if all Mid applicants are invited to audition, as they are for the juniors, or if they only invite those they would like to see more of? This also leads to the question of how important is the quality of the photos they have asked for. The form asks for one headshot and one full length "in ballet uniform, facing forward with feet in parallel position, arms by sides." Am I ok taking these myself, with the guidance of her teacher? Huge thanks for any advice!

Delighted to see such a positive reception to the "new" Hampson Cinderella in today's Links. If anyone's going to see it, do report back.

Scottish Ballet also start a brief run of their new A Streetcar Named Desire at Sadler's Wells tonight, so please use this thread for discussion. BTW, does anyone know the running time? The SW website is unhelpful in that respect.

Had hoped that somebody would post up on this 'cos its a terrific show.... I went up for the premiere a couple of weekends ago and had a great time - it's a version that concentrates on Clara and the children and has no odd physiological detailing or, to my mind, strange story twists. Just great dancing in fluid choreography (by founding artistic director Peter Darrell) and glorious costumes by Lez Brotherston whose brief was to re-imagine the originals by Philip Prowse. It's proved a good move and the ending is the best of any Nutcracker I've seen - but won't spoil for you. The TodaysLinks team have been collecting a bunch of reviews - here are the links to get a feel for the new production... Scottish Ballet, The Nutcracker, Edinburgh: Kelly Apter, Scotsman: http://www.scotsman.com/what-s-on/theatre-comedy-dance/ballet-review-the-nutcracker-edinburgh-festival-theatre-1-3634272 Justine Blundell, Edinburgh Guide: http://www.edinburghguide.com/reviews/edinburghswinterfestivals/thenutcrackerfestivaltheatreedinburghreview-15304 Alice Bain, Guardian: http://www.theguardian.com/stage/2014/dec/15/nutcracker-scottish-ballet-edinburgh-review Mark Brown, Telegraph: http://www.telegraph.co.uk/culture/theatre/dance/11294287/The-Nutcracker-Festival-Theatre-Edinburgh-review-near-flawless.html John McLellan, Edinburgh Evening News: http://www.edinburghnews.scotsman.com/what-s-on/theatre/review-the-nutcracker-1-3638045 DanceTabs: http://dancetabs.com/2014/12/scottish-ballet-the-nutcracker-edinburgh/ Tour details for completeness: http://www.scottishballet.co.uk/the-nutcracker/peter-darrells-the-nutcracker-2014.html If you have seen the show, or catch it on tour - it comes down to Newcastle note, do add some thoughts.