By Mark Brown
6 April 2019
Scottish Ballet, our national dance company, celebrates its 50th anniversary this year. Given the breadth of its programming, it is fitting that it should begin its celebrations, not with a classical ballet, but with Spring!, a double bill of defiantly unorthodox choreographies.
The evening begins with the world premiere of Dextera, an intriguing and memorable work by Scottish Ballet artist in residence Sophie Laplane. The choreographer describes the piece as a celebration of creativity, but, it seems clear, it is also commenting, upon current debates around gender inequalities and identities.
This it does with imagination, humour and some disquieting imagery. In contrast to the beauty of music by Mozart, red-gloved men manipulate puppet-like women, some of them with hooks attached to their costumes (all the better to control them).
This rigid, disconcerting gender scheme begins to crack when we see a male figure, attired in the same white dress as the women, being moved around the stage with energetic roughness. Soon, chorus scenes are offering comedic gestures of feminist defiance, leading to a final montage of personal freedom and social harmony.
Read the full article in HeraldScotland.