By Allan Radcliffe
2 August 2019
It is a warm, sticky summer day in Glasgow in 2019, but the occupants of the rehearsal room of Scottish Ballet’s headquarters at the Tramway have travelled back in time to Salem, Massachusetts, in the spring of 1692. The company — with the choreographer Helen Pickett at the helm — is fine-tuning an early sequence in its new ballet of Arthur Miller’s play The Crucible. A group of young women are dancing in a forest at night, weaving among each other with staccato abandon.
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