Scottish Ballet Backstage 28 by Scottish Ballet

WHEN THE GOING GETS TOUGH

The tough get dancing

Backstage Magazine | Issue 28 | Autumn/Winter 2020

Our Advancement Team

Hello & Welcome

Antonia Brownlee Head of Philanthropy E: antonia.brownlee@scottishballet.co.uk T: 0141 331 6290

Welcome to Scottish Ballet’s latest issue of Backstage magazine

Lucinda Keith Senior Philanthropy Manager E: lucinda.keith@scottishballet.co.uk T: 0141 331 6269

We grow. Along the way, we learn that life’s twists and turns have the power to make us stronger. This issue of Backstage explores resilience, from rehabilitating dancers to creating safe spaces for expression in our communities.

Sarah Potter Copywriter — Advancement E: sarah.potter@scottishballet.co.uk T: 0141 331 6292

Read how three of our dancers learnt a new resilience before the pandemic; like Principal, Sophie Martin who is back to work after maternity leave, relearning how to dance post-pregnancy. Hear from Soloist, Claire Souet who came back to work after an operation on her foot. With theatres closed, for many of us adapting to a new reality has meant embracing online communities. You may be one of the 60,000 people who has joined us online for a Scottish Ballet Health dance class, or one of the 50 Friends and patrons who joined us for our first ever supporters’ event on Zoom. It has been an honour to welcome NHS Scotland staff and frontline care workers to our online Health at Hand series too.

Olivia Calder Administration Officer — Advancement E: olivia.calder@scottishballet.co.uk T: 0141 331 6291 Kirsten Cockburn Head of Sponsorship and Commercial E: kirsten.cockburn@scottishballet.co.uk T: 0141 331 6281 Yvonne Halliday Sponsorship and Events Officer E: yvonne.halliday@scottishballet.co.uk

Thank you for growing with us, for dancing with us through the tough times, for helping us to stay healthy. Your support has helped to make Scottish Ballet a resilient arts organisation ready for a new future.

T: 0141 331 6274 Cat Tyre Tour Manager — Wee Ballets

Keep dancing. The arts have the power to heal.

(Advancement Support)

Sarah Potter

T: 0141 331 2931

E: cat.tyre@scottishballet.co.uk

Editor, Backstage Magazine

Cover and image to left: Principal Marge Hendrick. Photo by Hudson Martins.

Building Resilience Three dancers’ journeys to health, strength and motherhood Last year, three of our dancers met a point in their lives which would change the way they would dance forever: Soloist, Claire Souet was unsure if she would ever dance again after a recurrent foot injury; Principal, Sophie Martin took on a new role as Mum; and Principal, Evan Loudon says he owes his promotion to our Head of Performance Medicine whose team at Scottish Ballet are always on hand for our dancers’ health, especially during these important career moments. Claire Souet tells us about her injury and rehabilitation:

In Spring 2019, Claire Souet felt unsure if she would be able to dance in the role of Stop Time in Elite Syncopations as the pain in her ankle worsened in the hours leading up to the performance. By autumn, she was completely off pointe work for The Crucible. Claire didn’t know if her ankle would ever be healthy enough to dance on again, but following an MRI scan she looked forward to an operation that might end the pain. The scan showed extra bone at the back of the ankle joint that was stopping Claire from achieving full and demi pointe, and causing significant pain. In November 2019, Claire had an ankle arthroscopy to remove the excess fragments of bone and scar tissue. After two weeks of relative rest, Claire worked with Scottish Ballet’s Head of Performance Medicine and physiotherapist, Martin Lanfear. Each morning, they met for two hours. ‘The first days were scary, I thought — if I can’t walk now, how will I ever dance again? Martin was there to reassure me that everything was going well, he was a counsellor for me as well as a physiotherapist. In the first stage of rehabilitation, Martin gave me stabilisation exercises, slowly building strength in the ankle. I called these ‘boring exercises’ because they are so

Claire Souet working from home. Photo by Rimbaud Patron.

tiny and repetitive. Then, we started to introduce some dance movements like rises on the foot. When my colleagues were all dancing in The Snow Queen, my two hours of rehabilitation with Martin gave my day structure and motivation’. Thankfully, Claire’s operation was successful, and her ankle is back to full health. ‘Everything is easier now, there is no electricity of pain when I dance. I was so happy to perform Sibilo in New York before lockdown and it was an honour to be filmed dancing Helen Pickett's duet Trace for Edinburgh International Festival in August. My experience has made me grateful for my health. My love for my profession is even stronger, I can’t wait to be back on the stage’.

Soloist Claire Souet. Photo by Rimbaud Patron.

Left: Evan Loudon dancing the role of Strongman. Below: Evan dancing the role of Kai in The Snow Queen. Photos by Andy Ross.

Evan Loudon on his promotion to Principal:

Evan Loudon was promoted to Principal in winter 2019. He doesn’t think he would be where he is today without The Performance Medicine team's support. ‘The Snow Queen was the first winter season where I have not missed a show (58 shows over ten weeks). The Performance Medicine team has made me more durable, the team know my body and prevent injuries happening’. Evan has an incredibly mobile upper body. That freedom of movement, without the necessary strength, comes at a price – the risk of injury. It is essential to have stability to support that impressive range, this is done through strength and control work. 'The Performance Medicine team and I have worked hard to make sure that everything stays in place, that I can withstand my partner’s weight during lifts. I use a resistance (stretchy) band to strengthen the extremities of typical dance movements, especially in the upper body. Injury happens when you are tired, so I’ve also increased my time on the indoor bikes too. All these aspects have come together to help me take on bigger roles and challenges’. ‘It has been difficult to maintain this level of fitness during lockdown, I’m looking forward to being back in the studio with my colleagues and being able to jump properly. In the meantime, I’ve been learning how to speak French; we have so many French speaking dancers in the company and I’ve always wanted to make the effort to learn the language’.

Sophie Martin reflects on pregnancy and her return to work:

In spring 2019 Principal, Sophie Martin found out that she was pregnant. Sophie says, ‘I felt the change in my body immediately, I felt softer. I changed my morning routine, a big breakfast before class, when usually I’d have a coffee and then something to eat after class. I was only seven to nine weeks pregnant during the spring 2019 season and I felt it was too soon to tell anyone. I had nausea and costumes were already starting feel different’. Sophie’s last performance was Sibilo in Salt Lake City in May 2019. ‘Thankfully the costume included a blazer jacket, I was 12 weeks pregnant and by that point, I was starting to show a little bit’. Sophie continued to do company class every day, an important ritual for every professional dancer. She customised her dancewear by rolling down her leotards under a neat bump, and teaming it up with sports crop-tops and vests. Sophie stopped jumping, she also found it difficult to do an arabesque (lifting the leg behind her). Incredibly, she kept up pointe work until the final weeks of pregnancy so that it would be easier for her to come back to it after maternity leave. ‘I tried to dance all the way up to the end of the pregnancy. At 40 weeks, our Head of Health & Wellbeing said, “perhaps we should make this your last day of coming to work”’. Sophie and fellow company dancer Simon Schilgen's baby girl Leona arrived two weeks later. In January this year, Sophie went for a ‘mummy MOT’, recommended by Martin. A specialist checked Sophie’s pelvis and gave her the ‘green light’ to return to work. Her aim was to dance in Swan Lake in spring, one of the most challenging ballets for any dancer. She says, ‘I was mentally strong and ready for it, but I will never know if I would have achieved my goal physically (the production was postponed due to the pandemic). I have been motivated by that purpose. Dancing Sophie Martin during pregnancy. Photo by Rimbaud Patron.

‘Leona definitely enjoys watching me take class’ Principal Sophie Martin

has kept me sane during lockdown, I have completed The Royal Ballet School's Diploma of Dance Teaching. I have also stopped to observe my post-natal recovery. My body is still changing, my hips make a lot more noise than they used to and breastfeeding means that my joints are soft, so I need to be careful. My upper body feels a lot lighter and it feels good to dance. Leona definitely enjoys watching me take class, I think she recognises Pianist, Brian Prentice playing’. A special thank you to The Garfield Weston Foundation, The Barcapel Foundation, The Cruden Foundation, The Mikel Fund and The Ars Longa Trust for supporting our Dancers’ Health & Wellbeing Programme, allowing us to build capacity in our Performance Medicine Team. If you would like to help grow this area of the company further, please get in touch with us. Thanks to all our Back to the Barre Appeal donors for keeping our dancers fit and active safely during social distancing restrictions.

Sophie Martin with baby Leona. Photo by Artist and Leona's Dad, Simon Schilgen.

The People Behind the Scenes Head of Performance Medicine, Martin Lanfear. Photo by Eve McConnachie.

Your support gives us strength Martin joined Scottish Ballet in October 2017. Since then, he has worked to reduce the company injuries rate by over 60%. Born in Yorkshire, with Canadian dual-citizenship, Martin lives in Edinburgh. When he’s not making sure our dancers are healthy, he’s following his beloved Rugby League team. Here’s more about Martin’s job at Scottish Ballet. What is Performance Medicine, or ‘P Med’? P Med is the same as Sports Medicine only for performing arts. Scottish Ballet’s Performance Medicine team includes a Physiotherapist (me), Chiropractor and Gyrotonic Instructor as well as a pool of specialists including a Nutritionist, Performance Psychologist, Sports Doctor and Strength & Conditioning Coach. We’re giving dancers high level medical support, enabling them to be the best athletes possible. My job is to help our dancers fulfil their physical potential, that involves anything from giving dancers strengthening exercises to referring them to a specialist, or being someone to talk to. Can you tell us about a proud moment in your role at Scottish Ballet so far? Seeing Soloist, Araminta Wraith dance the role of Cinderella. After such a long and challenging rehabilitation from a foot injury, I am proud of her work ethic and what we achieved together. It’s one of the highlights of my job, being a part of a dancer’s successes. What was your first day at Scottish Ballet like? We built our clinic from zero. I am the first full-time permanent physiotherapist at Scottish Ballet. On the first day, I was shown to the room that would become our clinic — a former dance studio. It’s amazing to think what we have achieved together in such a short space of time.

What has it been like coming from a sports background to ballet? I thought because I don’t come from a performing arts background, not having a knowledge of the artform would be a weakness. But it has worked out to be one of my strengths. I have to actively learn, I ask questions. I’ve even been known to don a pair of pointe shoes too. What is your favourite ballet? The Crucible. It’s the ballet I would bring people to see if they had never seen a ballet before. It’s so impactful, yet really accessible. What are the biggest challenges of the job? Managing expectations. When dancers are injured, they want to know when they can dance again. I have to manage my own expectations of what I can deliver too — there is so much I would like to do, but we have to take one step at a time. I’m involved in the dance industry Covid Response Working Group with the Clinical Directors at the other national ballet companies. We are producing guidance to help all dance companies return to work safely, it is quite the task. How have you been staying healthy and motivated during social distancing restrictions? I have a home gym set-up and I live near to excellent running spots. Holly my Border Terrier needs exercise every day which helps me stay healthy in mind and body. I’ve been attending online lectures from some of the world’s best Sport Medicine professionals. This all keeps me motivated and inspired.

How to do Calf Raises In four simple steps Our dancers perform 25-30 single calf raises each day. There’s a significant body of evidence that says that foot and ankle strength training reduces injury rates in dancers, as well as reducing falls in the elderly. It’s a great exercise for everyone to include in their daily routines. Here’s how to do single calf-raises. 1. Stand with

2. With your hand

the feet in

on the back of a

parallel (toes

chair for support

pointing forward).

if you need it, take your right

Tip from our physiotherapist: Keep the movement controlled and slow. Try not to rock forward and backwards on each repetition.

foot off the floor.

3. Rise on to

4. Lower your heel

the ball of the

back to the floor.

Easier option: If you struggle doing single calf raises, try it from two feet. Simply keep both feet on the floor and rise onto the ball of both feet at the same time.

left foot, making

Repeat on one side

sure your weight

and then change

is place over the

to the other side

second metatarsal (second toe)

How did you do? We want to know how many repetitions you managed!

Photos by Rimbaud Patron.

The Point(e) Welcome to a new regular feature for Young Friends of Scottish Ballet In each issue of the magazine we’ll be introducing a Young Friend to one of our professional dancers. First up Mid Associate, Kai Finlayson from Inverness and Scottish Ballet First Artist, Jerome Barnes. Let’s find out what they learnt about each other…

Jerome asked Kai:

Kai asked Jerome:

Where do you see yourself in ten years’ time?

What are the best and worst things about being a ballet dancer?

Dancing with a company. I love Scottish Ballet, I also love seeing companies from other countries and all their interpretations of different ballets.

Travelling and making friends all over the world is one of the highlights of the job. The aches and pains from training can be hard.

What roles would you like to dance? What advice would you give a young dancer? I’m learning a variation of the Bluebird solo from The Sleeping Beauty. Watching clips of professional dancers in this role is incredible. Also, seeing Principals, Christopher Harrison, Sophie Martin and Constance Devernay dance the lead roles in The Nutcracker was so inspiring for me. I’m working on my ‘tour en l’air’ (turns in the air), I can do one on each side and a double on one side, so now I’m working on balancing up both sides.

Stay creative, try to improvise with new movement. Take yourself out of your comfort zone. Stretch every night (sometimes harder for male dancers). Be patient with yourself. Learn to cook healthy food. Be the healthy competition for your teammates, inspire them by being the best you can. Most importantly, just enjoy dancing. What was your experience like at Royal Ballet School?

Have you performed on stage, how was that? My dance school, Elvet Ballet School, has a show every year and our local theatre, Eden Court, hold an event called The Big Dance Show. My friend and I performed a duet together, we felt so small on such a big stage but as soon as the lights came on and the music started it was amazing.

It was a huge learning curve. I was boarding there for eight years. It taught me discipline and how to be prepared for the world of ballet.

Jerome Barnes Age: 22 From: Reading Started dancing: I started breakdancing when I was nine Hobbies (apart from dancing): cooking, composing music Favourite post-training snacks: pumpkin seeds and bananas Most played song on your playlist: Is This Love, Bob Marley (I’m always listening to it when I’m cooking) Pets: Jack and Fudge my Jack Russells Favourite ballet: Romeo & Juliet. Dancing the role of Romeo would be a dream come true Favourite dance move: turning and jumping (top fact, Jerome has the highest jumps at Scottish Ballet) Keeping fit: company class every day (currently on Zoom) and running in the local area

Kai Finlayson First Artist, Jerome Barnes in company class. Photo by Andy Ross.

Age: 12 From: Inverness Started dancing: I started jazz dance when I was seven and ballet when I was nine Hobbies (apart from dancing): biking and acrobatics Favourite post-training snacks: porridge and banana Most played song on playlist: Uptown Funk by Mark Ronson Pets: Barry the Dwarf Tortoise Favourite ballet: Elite Syncopations Favourite dance move: fouetté turns Keeping fit: Scottish Ballet’s Mid Associate class (currently on Zoom). Plus running and cycling

Above: Principals Sophie Martin and Barnaby Rook Bishop performing in Sir Kenneth MacMillian's The Fairy's Kiss. Photo by Andy Ross. Opposite: L to R, CEO/Artistic Director Christopher Hampson, Chairman Norman Murray, Dame Darcey Bussell DBE and Executive Director Steven Roth at the launch of the Five in Five Campaign. Photo by Christina Riley.

The Best Seat in the House

Scottish Ballet’s Chairman, Norman Murray finds a new view of the company Norman Murray has been Chairman of Scottish Ballet’s Board of Directors for seven years. He is the gentle voice in the figurative wings making sure our company culture is ‘en pointe’. As Norman prepares to step down from his role as Chair this year, Norman and his wife, Pam, have become two of Scottish Ballet’s most generous private donors. We find out about Norman’s time with the company and why he and Pam chose to make their £100,000 ‘lifetime gift’ to Scottish Ballet… When Norman worked in London, he and Pam used to attend the ballet at The Royal Opera House, Covent Garden. ‘During my career, I always looked to join the boards of charitable organisations where I felt I could make a meaningful contribution. In 2013, I saw the role advertised for Chair of Scottish Ballet and thought it would be interesting. My pitch for the role was this — I will help you with governance, strategy, board structures, contacts for fundraising, anything useful I can bring to the role. In return, I would like to get close to the artform, understand how an arts organisation is managed and find out what happens off-stage’. He did not expect to be back at The Royal Opera House years later, sitting in the audience as Chairman of the ballet company performing on stage. He recalls, ‘Scottish

Ballet were performing The Fairy’s Kiss as part of the Sir Kenneth MacMillan season. Five UK ballet companies were programmed. Scottish Ballet put on an incredible show. After huge applause, the gentleman who was sitting beside me turned to me and said “was that not fantastic?”, and with my Scottish accent I said, “yes, I feel very proud of the company”, I was so delighted, I did what I never usually do and let him know that I was the Chairman. Never in my days of visiting The Royal Opera House did I ever think that would be a scene in my life’. Norman has shaped a culture of leadership at Scottish Ballet that takes responsibility for itself, overseeing the appointment of Christopher Hampson as Chief Executive in 2015 and encouraging Christopher to follow his ambition of completing an Executive MBA degree. Norman led the debate on appointing high quality board members with complimentary skillsets including Executive Director, Steven Roth who has been an important part of the company’s continuing development. Norman feels that empowering the executives to create new roles such as Head of People & Wellbeing and Head of Performance Medicine, as well as creating a Leadership Group where every section of the company has a voice has been a

rewarding part of his role. As the longest serving current board member of Scottish Ballet, Norman has come to know the staff and dancers very well. ‘It’s important that everyone’s views are on the table, there are no politics, everyone is on the same page and what we say is what we do. As Chairman, I am happy that we have the right structure and people in place to meet the ambitions of the company’. In a time when many charities and arts organisations are having tough conversations about being able to survive, Scottish Ballet is saying, ‘how should we adapt’, a position we are incredibly grateful to all our supporters and board members for making possible, including of course the commitment of the Scottish Government. Norman’s career experience and dealing with people has many facets, there is no doubt that his knowledge of business, the culture of organisations and of finance has played a large part in Scottish Ballet’s resilience.

Above: Soloist Jamiel Laurence as ‘Short’ in Sir Kenneth MacMillan's Elite Syncopations. Right: Scottish Ballet dancers in Matthew Bourne’s Highland Fling. Photos by Andy Ross.

Norman includes his involvement in developing The Scottish Ballet Endowment Fund as an important part of his role, building a separate long-term sustainability fund for the benefit of Scottish Ballet. The Fund is supported by legacy gifts, and The Darrell Bequest Circle now includes 43 generous members, including Norman and Pam, who have let us know they plan to leave a gift in their will to Scottish Ballet.

What is the Chairman’s favourite Scottish Ballet production? He reveals, ‘I’ve never seen a bad Scottish Ballet show. They are all so different, it is difficult to choose one. Peter Darrell’s The Nutcracker is special to Pam and me because we took our granddaughter, Lily, when she was three and again when she was five. Sharing a magical Christmas show with family is great. I love the music in Sir Kenneth MacMillan’s Elite Syncopations, because you would not normally associate Scott Joplin with ballet. I take pride in seeing the company at work, the Highland Fling tour and all the sponsorship that went alongside that, from Caledonian MacBrayne to Loganair and Highland Park had an incredible energy. Christopher Hampson excels at being a creative choreographer and I always look forward to seeing his work. Likewise, when Christopher commissions new work, it is a pleasure to see people in the audience who are captivated by the imagination of new choreography. ‘Pam and I have supported Scottish Ballet in a number of ways over the last seven years and we have become so attached to the company and its ambitions. We decided to make a

Scottish Ballet dancers in The Nutcracker. Photo by Andy Ross.

The Snow Queen Intergenerational Project at Erskine Care Home. Care home residents and pupils from Bishopton Primary dance together as part of our dementia-friendly, Time to Dance programme. Photo by Brian Hartley @StillMotion.

significant donation now so that we could enjoy seeing its impact in our lifetime, as well as making a smaller legacy in support of The Darrell Bequest Circle and The Scottish Ballet Endowment Fund. We have enjoyed the process of working with Scottish Ballet to decide how our contribution will best benefit the company’. We asked Norman and Pam how they envisaged their lifetime award benefiting Scottish Ballet. ‘Being at the premiere for The Crucible at Edinburgh International Festival was tremendous. Pam and I both love New York and it would mean a great deal to us to see the production premiere there. It is something we will look forward to and will help build the company’s reputation abroad. Seeing Scottish Ballet’s productions on television is wonderful, I think of all the people who will be able to access ballet. Pam and I would like to make sure that the company has the resources to capture another production for broadcast. Scottish Ballet Health programmes make an incredible difference to people’s lives. I have seen so many people affected by dementia and the people who are

supporting them. Time to Dance has particular resonance for me and Pam so we are delighted that the Gift Aid (25pence for every pound donated) from our award will go towards that programme continuing. It has been an honour and a privilege to chair such a committed and capable board with responsibility over such a talented company in every respect and to be part of what "inspiring on stage and beyond” means for our audiences, participants and supporters’. Norman is looking forward to coming together with everyone again to enjoy a night in the theatre. He is interested to see how we have all learned to adapt from this unusual time. For now, after decades of business travel, Norman is keeping a healthy lifestyle, cycling, and appreciating the countryside, reading fewer business papers and learning more about other things which he has put off for years.

CEO/Artistic Director Christopher Hampson One of Norman’s most distinctive openers when giving a speech about his time at Scottish Ballet is, “Who’d have thought I would ever be able to say, “I’m in showbusiness… darling.”. After seven years as Chairman of Scottish Ballet, Norman can certainly include himself as one of the few leaders who really does understand the business of showbusiness! His leadership of our Board, his encouragement in my own personal development to Chief Executive and his unending curiosity into all aspects of life at Scottish Ballet has marked out his time as one of great development in our people and a continuing rise on the international stage. Norman, and his wife Pam, are part of our Scottish Ballet family and I know their enthusiasm and commitment to supporting all that we do will stay with us well into the future.

Principal, Bethany Kingsley Garner Norman has been so much more than the Chairman of Scottish Ballet, he is a friend and always welcomes you with open arms. His messages to us are always given with pride, confidence, commitment and passion for Scottish Ballet.

Patrons, Sarah & Alex Hammond-Chambers Norman has an enormous talent to make all of us who support Scottish Ballet welcome as part of the greater company family. It gives us all a sense of belonging to something special.

Strength in Numbers Now, more than ever, community

Director of Engagement, Catherine Cassidy. Photo by Eve McConnachie.

means everything Scottish Ballet’s Director of Engagement, Catherine Cassidy tells us why your support of Scottish Ballet ensures that dance continues to give our communities a voice and a sense of connection, even when we are physically apart. ‘One of the biggest focuses of our communities right now is the safe return to school. Last year, we delivered Safe to Be Me to almost 800 Primary 6 pupils across the country. The project offers children a place to explore and celebrate diversity and foster thoughts about what it means to be free to be yourself and an ally to others. Building resilience is about developing an understanding of our own physical and mental health needs. We also need safe spaces for conversations and connection to other human beings. All of our engagement programmes are designed with this approach in mind. Following Safe to Be Me workshops, Bankhead Primary School in Glasgow created an anti-bullying campaign. The school is one of several committed to developing the learning from the project. We are working with schools to make sure we find a way to take Safe to Be Me forward this year whilst following to government advice.

‘Be confident in your own body and feel free about your emotions’ Safe to Be Me participant

Jill Maxwell, Head of Brand Activation Aberdeen Standard Investments

Above: Scottish Ballet Safe to Be Me participants. Right: Special Projects Manager, Sara Kemal. Photos by Andy Ross.

This is the second year we have proudly sponsored Scottish Ballet’s trailblazing Safe to Be Me initiative. I can’t speak highly enough of the project. It aligns with many of our own values at Aberdeen Standard Investments; we believe that together we can invest for a better future and Safe To Be Me really does embody this philosophy on so many levels. We strive to put inclusion at the heart of all we do, in the hope of creating a more diverse environment in which our people can not only work but in which they can thrive. We were delighted to hear that so many Primary 6 pupils who took part in the workshops walked away with this same inclusive and in turn diverse outlook.

‘One week after lockdown we made five different dance classes available online, one for every day of the week. Our participant dancers from Dance for Parkinson’s Scotland, dementia-friendly Time to Dance and our Elevate programme for people living with multiple sclerosis, have been able to join us online for condition-specific dance sessions. Our Scottish Ballet Health classes allow participants to connect more deeply to their bodies as well as finding their creative voice. With all our projects, we aim to create uplifting experiences for communities and then provide a range of tools so that communities can continue to build on those experiences

themselves. Knowing the impact these sessions were having on people at home led us to respond to the pandemic by supporting NHS with a series of 10-minute movement and breath sessions for on-duty NHS staff and Social Care staff. Health at Hand is designed to address physical and mental stress for those working in the NHS and Social Care services. Everything we do takes inspiration from our main stage productions too — what you see and hear at the theatre is what moves us in the studio. We know that this helps everyone feel connected and part of the Scottish Ballet family’.

‘I meet people who understand my condition without judgment’ Elevate participant

Tiffany Stott, Dance Health Co-ordinator, in Scottish Ballet's Elevate class. Photo by Andy Ross.

You Inspire Us Trusts & Foundations

Scott, Murdoch & Jenny Shirreffs MBE, Janet Smith, James Watt,

Barcapel Foundation, Elizabeth Frankland Moore and Star

Mike & Margaret Winter & four anonymous patrons

Foundation, Garfield Weston Foundation, John Mather Charitable

The Darrell Bequest Circle To help bring the beauty of ballet to

Trust, MacTaggart Third Fund, Scottish Enterprise, The Alma &

future generations, the following patrons have left a gift in their

Leslie Wolfson Charitable Trust, The Ars Longa Trust, The Castansa

Will: The Monument Trust, Susan F Anderson, Marion McGadie

Trust, The Cruden Foundation, The Esterson Trust, The Hugh

Baird, John Bogle, John Ferguson, Dean Fostekew, Sarah Graham,

Fraser Foundation, The JTH Charitable Trust, The Martin Connell

Norman & Pam Murray, Fiona McKenzie Perry, Maggie Smith,

Charitable Trust, Life Changes Trust, The Linbury Trust, The MEB

Alastair Stewart, David Taylor, Eleanor Taylor, Isobel Thompson & 28

Charitable Trust, The Mickel Fund, The Mrs M A Lascelles Charitable

anonymous patrons

Trust, The Monument Trust, The MSO Settlement Trust, Paul Hamlyn Foundation, Rayne Foundation, The Robertson Trust, The RS

Engagement Patrons

Macdonald Charitable Trust, The Spifox Foundation, The Turtleton

Elevate Jane Brittin, Christine Cutler and Lady Mackie of Benshie in

Charitable Trust, The Sylvia Aitken Charitable Trust, The W A Cargill

memory of G. Kenneth Lane

Fund and the family of the Wendy Hamilton Scholarship Fund

Safe to Be Me Fiona Chalmers & one anonymous patron Time to Dance Norman & Pam Murray, Edward & Jean Murray &

Private Gifts

one anonymous patron

Scottish Ballet warmly acknowledges our patrons who help us to deliver excellence on and off the stage:

Five in Five Campaign

Lead Gift Patrons Norman & Pam Murray

We warmly thank the following patrons and Trusts for their

Director’s Circle Gold Jacquelynn Craw, Kate & Gavin Gemmell

generous support of the commissioning and staging of five new

CBE, Norman & Pam Murray, Anne Reece, Fiona & Ian Russell, Bill

ballets in five years, the third of which is The Scandal at Mayerling.

& Mary Scott & two anonymous patrons

Their pledges will help to create a lasting ‘legacy’ for Scottish

Director’s Circle Silver Wendy Bannerman, Iain & Marion Barclay,

Ballet’s audiences and dancers, both now and in the future.

Eleanor Bentley, Michael Berry, Stewart & Janie Clark, Clive Criper,

Founding Patrons The Monument Trust, The Viewforth Trust,

Elspeth Fleming & Gordon Campbell, Sir Sandy & Lady Crombie,

Geoff & Mary Ball

Ian & Lesley Curle, Sir Bill & Lady Gammell, Christopher Hampson,

Lead Patrons Ian & Lesley Curle, Kate & Gavin Gemmell, The Munro

Mary Hitchon, Eimear Keenan, Katharine M E Liston, Callum Meikle

Foundation, Anne Reece, Fiona & Ian Russell, The Turtleton Trust &

& Jill Chalmers, Frederick Hay & Annabeth McLean, Dr Chris & Gill

one anonymous patron

Masters, Deirdre Michie, Stephen Moss CBE & Joy Moss MBE, John

Principal Patrons Sandy & Wendy Bannerman, Mike Rutterford &

Newton, Juliette Paton MBE, Caroline Roxburgh, Alastair & Sheila

Susan Christie & one anonymous patron

Stewart, Simon Thomson, SoHo Wealth, & one anonymous patron

Ambassadors Susan & Kathleen Anderson, Anna Bateson, Eleanor

Director’s Circle Susan & Kathleen Anderson, Campbell Armour

Bentley, Ted Brandsen, Jann & Tony Brown, Stewart & Janie Clark,

& Angus McLeod, Marie Bartlett, Anna Bateson, Jack Bogle, Steve &

Neil & Nicola Gordon, gofastforward, Mandy Graham, Sophy Green

Helen Bull, Fiona Cairns, Dennis Carmichael, Desmond Cheyne, Nye

Rachel Gwyon, Christopher Hampson, Giles Hedger, Mary Hitchon,

Cooper, Liz Danby, Gillian Docherty, John Dover, Dean Fostekew

Mark Llewellin, Norman & Pam Murray, Joyce Pringle, Juliette Paton,

& William Mounsey, Heather Gordon MBE, Peter Hastie, Faye

Steven Roth, Keith Ruddock, Alastair & Sheila Stewart, Helen Stuart,

Hay, Mandy Graham, Lord Cameron of Lochbroom, Mark Llewellin,

Malcolm Thoms, Kirsty Wark

Douglas Maccoll, Eileen Mackay, Fiona MacLeod, Dr Jennifer Quin, Rosemary Rankin, Dawn Robertson, Steven Roth, Alison

Back to the Barre Appeal Thanks to our appeal donors for enabling our dancers to work safely from home. Evren Akarsu, Isobel M Allan, Ann Archibald, Campbell Armour & Angus McLeod, Kate Arnold, Anne Artymiuk, Jack Bogle, Lucy Brett, Elizabeth Jane Brittin, Steve & Helen Bull, Alison M. Campbell, Katherine Campbell, Janet M Carr, David Chittleburgh, Lorna Coe, Alison M. Cooper, Frances Cunningham, Sheila Cuthbertson, Magda de Jager, Dr Nicholas Dennis, Sir Neil & Lady Douglas, Barbara Fairlie, Elaine Falconer, Laura Fasick, Dean Fostekew & William Mounsey, Kate & Gavin Gemmell CBE, Hilary Goodson, Neil & Nicola Gordon, Wendy Gordon, Mags Goudie, Michael & Florence Grant, Benjamin Haglund, Avril Halliday, Faye Hammill, Dr & Mrs Kenneth Hare, Roger Hartley, Callum Hay, Margaret Hay, James Hogg, Dr Niall Hyndman, Carol G Jonson, Joni Kaplan, Gerald Kemp, Gordon Kennedy, Ann Kerr, Albert Kerr, Penelope Klemen, Chantelle Lalli, Kate Lang, Michael E Lind, Mark Llewellin, Colin N Lumsdaine, Eileen Lundmark, Robert T. Macaulay, P E MacLachlan, Fiona Macleod, Sandra Martin, Dr & Mrs Chris Masters, Julie May, Bill McBain, Jennifer McHattie, Christina McKechnie, Marna McMillin, Dr Charlotte Methuen, Catherine Muirden, Norman & Pam Murray, Agness Ness, John Newton, Tanya Paker, Juliette Paton, Rosemary Rankin, Dr Nigel A Rose, Professor Richard Rose FBA, Ian & Fiona Russell, Jennifer M Scarce, Judith Seith, Dr & Mrs Harmannus Sluiman, Helen Soppitt, Alastair & Sheila Stewart, Heather R Stewart, Ava Strachan, Lydia TaylorCrooke, The JTH Charitable Trust, The W.A. Cargill Fund, Ann D Thewliss, Malcolm Thoms, David S Thomson, Joanna Tucker, Fiona Tweedie, Marion Walker, Kirsty Wark, James Watt, Carol Wiseman, Sheena Wurthmann and 7 anonymous donors Corporate Partners For full information on our corporate partners, please visit scottishballet.co.uk/support/corporate-support/current-partners Artist Aarón Venegas in Catalyst. Captured as part of Edinburgh International Festival’s digital programme.

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Thanks to everyone who completed our Patron Survey. 81 of the 109 of you who responded said that you support Scottish Ballet because you feel a sense of pride in the company. 79% said you would recommend Scottish Ballet to a friend or colleague. And 98% said that you read Backstage, with 68% reading cover to cover.

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At Home with Scottish Ballet

‘It was so nice to see and hear from Bethany (Kingsley-Garner, Principal) and Antonia (Brownlee, Head of Philanthropy), it made me feel part of Scottish Ballet ‘family’ which is so important at the moment. Look forward to more events’. — Event feedback from our first online supporters event. A Very Ballet Birthday

Thank you to all our Young Friends who have been letting us know how much they love their signed (by the dancers) birthday posters. This is Blair who received her poster just before lockdown. Lockdown birthdays received a video message from our dancers, but signed posters will be in the post as soon as its safe for us to return to the office.

How many single calf-raises do our dancers perform each day to protect themselves from injury? To enter, send it to us by email with your name to: Sarah Potter, sarah.potter@scottishballet.co.uk The correct answers will be pulled from a pointe shoe in late October 2020.

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Young Friend Blair Bell with her signed birthday poster.

@scottishballethq @scottishballet @scottishballet

The snow queen is really good Autumn at a Glance

You’ll notice that we are taking one step at a time. Theatres have been closed since 16 March to help slow the spread of coronavirus. We have rescheduled our entire 2020 season to 2021. Scottish Ballet are working hard behind the scenes creating new ways to engage you in inspiring dance events until then. Remember, all of our films are available to watch on our website scottishballet.co.uk.

Friends Events

Booking Details

We are busy creating online events for you to enjoy from the safety of your home until we can invite you to Tramway and theatres again. We can't wait to see you in person!

For updates on performances and events please see our website scottishballet.co.uk.

Back to the Barre

Webinar, Thursday 27 August, 5.30pm. Join us for another Digital event to hear from from First Artist, Roseanna Leney and Head of Performance Medicine, Martin Lanfear, as they prepare for their return to rehearsals and the stage. Have your questions ready.

Cost for Friends’ events is £5 for Friends and £10 for guests of Friends. Events are complimentary for Principal Friends and patrons.. To book, please call Olivia Calder on 0141 331 6291, email olivia.calder@scottishballet.co.uk or visit scottishballet.co.uk/support.

Quiz Night

Zoom event, Thursday 17 September, 5.30pm. Who wants to be a Scottish Ballet-onaire? Join us for our first virtual Quiz Night with special guest host, Fred MacAulay. You will be put into teams with fellow supporters and Scottish Ballet staff. A Living Legacy

Webinar, date and time tbc. Learn more about The Scottish Ballet Endowment Fund and The Darrell Bequest Circle. Hear about future plans from Chairman, Norman Murray, CEO/Artistic Director, Christopher Hampson and legacy advisor, Alan Eccles.

Page image: Artist Rishan Benjamin. Photo by Paul Cameron.

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