Annual Report 2012/13
Annual Report 2012/13
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Scottish Ballet Tramway 25 Albert Drive Glasgow G41 2PE General Telephone +44 (0) 141 331 2931 Website www.scottishballet.co.uk Find us on
Front cover: Eve Mutso as Blanche and Tama Barry as Stanley in A Streetcar Named Desire. Photograph by Nisbet | Wylie.
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Introduction
Scottish Ballet is… Scotland’s National Dance Company Engaged in creating opportunities to share its work to the widest possible audience Looking to awaken interest and ignite passion in the arts Continuing to seek, nurture and foster talent within Scotland
Scottish Ballet is Scotland’s National Dance Company and presents a wide range of highquality dance to audiences across Scotland, the UK and abroad, with strong classical technique at the root of all its work. This includes new versions of classic titles, as well as seminal modern works from 20th century choreographers, signature pieces by living choreographers, and new commissions. The company regularly tours to largescale venues in Glasgow, Edinburgh, Aberdeen and Inverness and periodically undertakes small-scale touring across Scotland. Strategic partnerships have been formed with the leading venues in the capital cities of the UK’s other nations, i.e. Belfast, Cardiff and London. The company has an established relationship with Edinburgh International Festival and continues to pursue opportunities abroad.
As well as presenting in conventional dance venues, Scottish Ballet is continually seeking new creative opportunities to promote and showcase its work to the widest possible audience, be it through digital media, in unusual locations, or at one-off events. 2012/13 has been another successful year for Scottish Ballet. Christopher Hampson was welcomed as Artistic Director in August 2012 and during the course of the year the Company received a number of major industry awards including the Critic’s Circle National Dance Award for Best Classical Choreography, the South Bank Sky Arts Award for Best Dance Production and an Olivier Award nomination for Best New Dance Production.
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2012/13
The 2012/13 season began in spring with Scottish Ballet presenting the world premiere of A Streetcar Named Desire.
AUTUMN SEASON 2O12
In summer we produced Dance GB, a national celebration of dance inspired by the spirit and athleticism of the Olympic Games. Autumn then saw a triple bill featuring Hans van Manen’s 5 Tangos, William Forsythe’s Workwithinwork and a section of the Dance GB programme, Run For It by Martin Lawrance. The Company completed the year with a revival of The Nutcracker by Ashley Page, which toured across the UK and was again, in its fourth outing, very well received.
“NOTHING SHORT OF REMARKABLE” THE SCOTSMAN
RUN FOR IT MARTIN LAWRANCE WORKWITHINWORK WILLIAM FORSYTHE FIVE TANGOS HANS VAN MANEN
4 – 6 OCTOBER 2012 Box Office 0844 871 7647* Book Online atgtickets.com/glasgow*
English National Ballet National Dance Company Wales Scottish Ballet
Media Partner
*Booking fee | Photograph by Andrew Ross Registered in Scotland No. SC065497. Scottish Charity No. SC008037
presents a unique production of
Conceived by Ashley Page and Antony McDonald Music by Tchaikovsky
Three national dance companies: one unforgettable performance 19 – 23 June 2012
Box Office 0844 871 7647* Online www.atgtickets.com/glasgow*
Daily Mail The Herald The Scotsman
Poster image and logo design by Feast Creative, incorporating photographs by Nisbet & Wylie and Bill Cooper. Registered in Scotland No. SC065497. Scottish Charity No. SC008037.
Photography by Laurent Liotardo | English National Ballet: Company No 735040, Charity No 214005 | National Dance Company Wales: Company No 167241, Charity No 326227 | Scottish Ballet: Company No SC065497, Charity No SC008037 | *Bkg fee
6–9 February
Box Office 08448 11 21 21 Book online & select your own seat theatreroyal.co.uk
Left: posters for our 2012/13 Seasons. Opposite page: Tama Barry as Stanley in A Streetcar Named Desire. Photograph by Andrew Ross.
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In Theatres
During 2012/13, Scottish Ballet presented 103 performances to 80,211 people, serving audiences from all over Scotland, as well as the UK. During 2012/13 we continued to see regional fluctuations in ticket sales, but box office income overall remained strong and targets were exceeded for both A Streetcar Named Desire and The Nutcracker.
103 Performances
80,211 People
Left: A father and son enjoy a trip to The Little Nutcracker. Photograph by Andrew Ross. Below: A Scottish Ballet audience at Theatre Royal, Glasgow. Photograph by Andrew Ross.
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Online
203,167 Website visits
20,025 Social media followers
195,422 Video views
Left: Dancers Luke Ahmet and Luciana Ravizzi during the filming of one of our Health & Fitness films. Photograph by Christina Riley. Below: scottishballet.co.uk’s Kids Zone.
Scottish Ballet’s online presence enjoyed continued growth, successfully encouraging people to interact with the company across a widening range of online and social media platforms. During 2012/13 scottishballet.co.uk received 203,167 visits, a 29% increase on the previous year. Social media followers increased substantially throughout the year, reaching a total of 8,412 followers on Facebook and 11,613 followers on Twitter, a total of 20,025 — a 65% increase from 2011/12.
Short films to accompany productions, education projects and to promote the Company as a whole continued to prove popular online, with video views on YouTube and Vimeo reaching a total of 195,422, a 75% increase on the previous year.
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2012/13 Season:
A Streetcar Named Desire
In spring 2012, we presented the world premiere of A Streetcar Named Desire. In a groundbreaking approach to making new narrative ballet, we engaged a theatre director, Nancy Meckler, to lead the creative team, working with choreographer Annabelle Lopez Ochoa, composer Peter Salem, set and costume designer Nikki Turner, and lighting designer Tim Mitchell.
“Heartbreakingly beautiful… something very special.” The Independent “Scottish Ballet’s A Streetcar Named Desire could serve as a template for how to tell a story through dance. The result is everything you could want of Tennessee Williams — florid, poetic, poisonously beautiful.
The result was an extremely London Evening Standard powerful piece that really engaged with audiences and resulted in interest from producers and “It was a stunning and powerful promoters worldwide, as well as contemporary production and significant industry recognition, deserves to be a major success story including the Critics’ Circle National for the company and Scotland.“ Dance Award for Best Classical Choreography, the South Bank Andrew Dixon, audience member Sky Arts Award for Best Dance Production and an Olivier Award nomination for Best New Dance Production. We grew our audiences by successfully taking the production to Sadler’s Wells in London, performing to sell-out audiences.
Below: Tama Barry as Stanley and Sophie Martin as Stella in A Streetcar Named Desire. Photograph by Andrew Ross. Opposite page: Adam Blyde as Mitch and Eve Mutso as Blanche in A Streetcar Named Desire. Photograph by Andrew Ross.
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2012/13 Season:
Dance GB
The 2012 Olympics provided Scottish Ballet with a rare opportunity to join forces with colleagues across the UK in support of the Cultural Olympiad. Together with English National Ballet and National Dance Company Wales, we produced Dance GB, a national celebration of dance inspired by athleticism and the spirit of the Olympic Games. The world premiere performance — featuring work by choreographers Christopher Bruce, Itzik Galili and Martin Lawrance — was presented in Glasgow and then toured to Cardiff and London. The project also involved Turnerprize winning artist, Martin Boyce, working for the first time in a theatrical context, an experience that subsequently resonated in his work for exhibition. “A brilliantly dynamic abstraction of athletic endeavour, stamina and prowess.” The Herald
Above: Owen Thorne, Eve Mutso and the Company in Martin Lawrance’s Run For It. Photograph by Andrew Ross. Left: Company dancers from National Dance Company Wales in Dream, part of Dance GB. Photograph by Andrew Ross. Below: English National Ballet’s Ksenia Ovsyanick and Junor Souza in Itzik Galili’s And the Earth Shall Bear Again, part of Dance GB. Photograph by Andrew Ross. Opposite page: Scottish Ballet’s Christopher Harrison, National Dance Company Wales’ Annabeth Berkeley and English National Ballet’s Ruth Brill on the poster for Dance GB.
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2012/13 Season:
Autumn 2012
For autumn 2012, we produced and toured a triple bill across Scotland featuring Hans van Manen’s 5 Tangos, William Forsythe’s Workwithinwork, and a section of the Dance GB programme, Run For It by Martin Lawrance. It was very well received by audiences and critics alike. “The quality of the dancing alone was enough to position the current Scottish Ballet troupe alongside the world’s finest dance companies.” The Scotsman “An impressively diverse programme.” The Daily Telegraph The autumn 2012 season provided a platform for Scottish Ballet to continue its pioneering approach to using digital media. Working in partnership with Strathclyde University CIS Department, we developed and trialled a custommade/custom-built digital souvenir programme, which we believe is the first of its kind for any touring theatre or dance company. This pilot ‘product’ was very positively received by audiences and is being further developed for 2013/14.
Above: Luke Ahmet, Owen Thorne, Daniel Davidson and Luciana Ravizzi in William Forsythe’s Workwithinwork. Photograph by Andrew Ross. Left: Jamiel Laurence and Bethany Kingsley-Garner in Martin Lawrance’s Run For It. Photograph by Andrew Ross. Opposite page: Claire Robertson and Christopher Harrison in Hans Van Manen’s 5 Tangos. Photograph by Andrew Ross.
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2012/13 Season:
The Nutcracker
This production, which premiered in 2003, was the first full-length work to be created by Ashley Page and served as a fitting tribute to mark his departure from Scottish Ballet in 2012 after serving as Artistic Director for 10 years. Commenting in The Stage on the transition to new Artistic Director Christopher Hampson, Thom Dibdin wrote of The Nutcracker: “If this was magnificent under Page’s own direction, Scottish Ballet’s new artistic director Christopher Hampson has been utterly faithful to his predecessor. Indeed, as the company has gained confidence, so this achieves even greater heights. The precision of the corps de ballet in the snowflake sequence suggests a rigorously drilled company, while the joyous celebrations of the flower dances really let it fly.” Tom Dibdin, The Stage
Above: Martina Forioso as the Clara Doll, Adam Blyde as the Nutcracker Doll and Owen Thorne as the King in The Nutcracker. Photograph by Andrew Ross. Left: Victoria Willard and Mark Kimmett as guests, Owen Thorne as Dr Stahlbaum, Eve Mutso as Frau Stahlbaum and Kara McLaughlin and William Smith in The Nutcracker. Photograph by Andrew Ross. Opposite page: Bethany KingsleyGarner as Marie and Erik Cavallari as the Prince in The Nutcracker. Photograph by Andrew Ross.
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Join In
At Scottish Ballet, education is everywhere. Our Education team works with a wide range of participants aged from just 18 months to 80 years plus, and presents a wide variety of opportunities to access the Company and its work, ranging from special projects designed to engage with new audiences, groups and art forms to classes, workshops and illustrated talks. Scottish Ballet strives to offer something for everyone whether someone wants to dance, see costumes up close, meet new friends or just hear about what happens behind-the-scenes.
3,619 Join In Class Participants
13,350 Total Join In Participants
Left: Participants of Scottish Ballet’s Join In classes; suitable for boys, girls and parents. Photographs by Andrew Ross. Below: Members of Regenerate, a performance course for participants aged 50 and over. Photograph by Andrew Ross.
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The Close
This popular project involved a first time ballet experience for young adults some of whom are excluded from mainstream education. Within a week of their visit to the theatre, they were invited to take part in a creative dance and music workshop. Participants had the opportunity to explore the key themes and issues that they identified from the production then enjoyed a post-show talk with Scottish Ballet’s Artistic Director Christopher Hampson and a selection of our dancers. The objective of The Close was to empower participants by welcoming their creative ideas and building their confidence, communication, self-expression and creative skills, as well as providing a cultural and social education, and enriching new experiences.
“The kids loved it and are looking forward to next week. The whole school is now inspired by ballet. We are going to do a project across the whole school on Romeo & Juliet then take them to see the ballet. I am really excited about this, being an English teacher. Thank you once again for this amazing opportunity for our wains and for all your hard work” Head Teacher, Gorgie Mills “One of our young people got involved in drama at school and won an award! She would never have attempted it before your workshops.” Lead worker, Quarrier’s
“I just want to say a massive thanks for the workshops, they were amazing. Our boys absolutely loved The format and content of this them, they’ve all been to see me this project was very successful and morning saying they wish they were provided a range of creative still doing it. They never get valuable experiences for young people experiences out with school so it was with additional support needs. brilliant to see them getting so much Feedback from teachers and youth with you. Your rapport with them was workers was positive and we have magic, not everyone acts so positively subsequently made a commitment to with our boys so trips often go delivering a similar programme linked downhill very quickly! It was brilliant; to our Romeo & Juliet tour in 2014. I’ve definitely learnt a few things. We’ll keep up our moves till next year… and 5, 6, 7, 8, slide, slide, slide…!” Teacher, Gorgie Mills
142 Participants
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Hansel & Gretel, and Me
2012 saw the start of this groundbreaking initiative with a range of creative writing competitions for children and adults, a visual art competition and dance workshops. The project ran in partnership with a variety of cultural organisations such as the The Monument Trust, Forestry Commission Scotland, National Library of Scotland, the National Galleries of Scotland, The Scotsman, BBC Scotland and a number of National Dance Agencies. Hansel & Gretel, and Me invited participants of all ages from across Scotland to engage with their national dance company on a range of exciting initiatives, allowing them to help shape Scottish Ballet’s new production of Hansel & Gretel. Community participants from age five to senior years had the opportunity to express their own ideas of what Hansel & Gretel means to them through creative writing programmes, a series of six cross-generational dance performances in woodland areas, and a visual art competition. This exciting project began in autumn 2012 with: Creative Writing Competitions Visual Art Competition Forest Performances The Breadcrumb Trail
The Scotsman, author Louise Welsh, The National Library of Scotland and The National Galleries of Scotland all worked on the projects and assisted Scottish Ballet’s Artistic Director Christopher Hampson in judging the final entrants. The Company also partnered with BBC Scotland’s Day of Dance where we showcased elements of the forest performances.
Below: One of Scottish Ballet’s Hansel & Gretel, and Me participants in Dundee. Photograph by Andrew Ross.
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We had great pleasure in collaborating with The National Galleries of Scotland and Tesco Bank in our Visual Art Competition, where we used a selection of entries as inspiration for the set design of Hansel & Gretel. Also in summer, Scottish Ballet is ran a week-long dance and drama residency for 6–8 year olds in conjunction with Citizens Theatre. Participants explored themes from the Hansel & Gretel story as well as activities that culminated in an outdoor performance at the Hidden Gardens, Tramway. The residency involved a mixture of dance, drama and artwork sessions led by staff from Scottish Ballet and Citizens Theatre, along with music sessions, live accompaniment and tailored, outdoor sessions with a bushcraft specialist. The final phase of Hansel & Gretel, and Me will allow gifted and talented young dancers from all backgrounds and from all across Scotland the chance to perform in Hansel & Gretel. Working with Christopher Hampson and Education officers, they will develop their dance technique and choreography skills as well as contributing their own choreographic ideas.
1991 Participants
Above: Christopher Hampson works with young dancers from Glasgow in rehearsals for Hansel & Gretel. Photograph by Christina Riley.
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Find Your Feet
This project, ‘Find Your Feet’, took a high quality participatory experience to seven targeted communities within five local authority areas (as identified in the 2009 Information on Dance Development report by the Scottish Arts Council’s Dance Department as those most lacking in dance activity): Perth and Kinross, Inverclyde, The Highlands, Dumfries and Galloway, and Argyll and Bute.
6404 Participants
Below: Participants from Scottish Ballet’s Find Your Feet project. Photograph by Andrew Ross.
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From September to November 2012 the project provided a long weekend (four days and nights) of dance activity within each area targeting both urban and rural participants and audiences. The project served as a catalyst for dance participation in each area through a variety of practical and non-practical events and experiences for people all ages. In addition, dance was celebrated in each area with an inspiring evening of performance by community groups followed by a specially commissioned piece produced in partnership with the Royal Conservatoire of Scotland’s BA Modern Ballet course. The final two elements of the project were a Continued Professional Development (CPD) weekend for dance specialists, youth workers and primary and secondary school teachers and the creation of a short documentary film about the project.
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Hothouse
Established in 2012, Hothouse is a partnership between Scottish Ballet and YDance for the young people of Scotland. This choreographic residency project leads up to the Commonwealth year. Its aim is to develop young people: enhancing technique, exposing them to industry role models, encouraging their creativity and supporting them as young emerging artists.
The success of Hothouse has led to a continuation of the project and plans to further its development in 2013/14, with aims to include a Level two programme and support young choreographers who took part in 2012 by allowing them to create their own work in future Hothouse projects.
Scottish Ballet and YDance have created a range of opportunities for young choreographers to gain skills and further explore their creative voices. So far participants have worked with Tommy Small, Marc Brew and Lorraine Jamieson; learning directly from professional choreographers and expanding their choreographic tool kit.
51 Participants Above and left: Participants in Scottish Ballet’s Hothouse project (in partnership with YDance). Photograph by Andrew Ross.
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Wee Nutcracker
For the second year running, this first time experience of ballet for very young families was delivered in Glasgow and Edinburgh. This hour long ‘little’ performance of The Nutcracker is adapted specially for children aged 3+, giving them an introduction to the magic of ballet. Alongside the performance at Theatre Royal were special talks and an activity fun pack built in the success of last year’s Forty Winks programme. Furthermore, eight days of creative dance workshops were delivered at the National Museum of Scotland and Kelvingrove Museum.
1017 Participants
Above and left: Children attending The Little Nutcracker learn about the performance from their seats in the theatre and meet real nutcrackers up close. Photographs by Andrew Ross.
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Enhanced Hearing, Audio Described Performances and Touch Tours Scottish Ballet continues to offer audio-described performances in most venues, giving visually impaired patrons the opportunity to experience dance. All audio described performances are preceded by a touch tour in which patrons have the chance to get close to the props and costumes. “It gave a real sense of connection to what was happening on stage. As an ex-dancer who has lost my sight, this has given me a new lease.” Enhanced Hearing / Audio Described Performance audience member
32 Participants
Left and below: audience members go behind-the-scenes to discover props and costumes with Scottish Ballet’s touch tours. Photographs by Andrew Ross.
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Join In Online
Scottish Ballet continues to provide backstage access to a global audience via live webcasts, from the studios to the theatre.
Left: A range of Scottish Ballet webcasts. Bottom: Lewis Landini and Vassilissa Levtonova in rehearsals for Dance GB. Photograph by Andrew Ross. Opposite page: Luciana Ravizzi in The Nutcracker. Photograph by Andrew Ross.
In 2012 we broadcast:
Dance GB Webcast
Autumn Season 2012 Webcast
14,417
612
views from 1 Apr 2012 – 31 Mar 2013
views from 1 Apr 2012 – 31 Mar 2013
A Streetcar Named Desire Panel Discussion
1607 views from 1 Apr 2012 – 31 Mar 2013
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Ballet Stars of the Future: Associate Programme
The Associate Programme aims to nurture young, talented dancers and enable them to prepare for vocational training to develop a professional career in dance. There are three levels of the Programme, comprising Junior Associates (Primary 6 and 7), Mid Associates (Secondary 1 and 2) and Senior Associates (Secondary 3–5). The 2013/14 session of the Associate Programme showed further development, particularly at the Mid and Senior Associate level. From the introduction of the Mid Associates in 2009, classes were offered initially on a fortnightly basis. However, in response to feedback from parents, students and teachers, this increased to weekly classes for the 2011/12 season and continued to show success in 2012/13. From September 2013, the Mid Associate groups were split into two different levels, to allow more focus in the training and additionally, the Senior Associate weekly session was extended in response to student feedback, with an additional class added. The benefits of this additional level of training are now becoming apparent, with 95% of the students who were successful in the auditions for the Senior Associate level, feeding through from Mid Associate level. The training year is divided into three terms, following that of the school year, with participants continuing to attend their regular, local dance classes. The Associate Programme
complements this, providing a continuous professional training strand in a Company environment. All classes are held at Scottish Ballet’s headquarters at Tramway and are accompanied by live music. Kerry Livingstone, Head of the Associate Programme, has designed the Associate classes to link to the work of Scottish Ballet; therefore, as well as technique classes the Associates have repertoire-based sessions with dancers from Scottish Ballet (based on current repertoire) and attend performances. In addition, the students study creative, contemporary, character dance, alongside Pilates, pointe work and virtuosity. Mid and Senior level Associates are also introduced to Gyrokinesis and conditioning sessions, a series of exercises designed to increase flexibility and strength.
Below and opposite page: Scottish Ballet Junior Associates. Photograph by Andrew Ross.
“I love going to Mids. I always learn new things every time I go and I can’t wait for each week to come.” Mid Associate Participant
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Ballet Stars of the Future: BA Modern Ballet
This year the BA Modern Ballet, which commenced in partnership with the Royal Conservatoire of Scotland (RCS) in September 2009 produced its second year of graduates. The final rung in the ladder of vocational training did not previously exist in Scotland, so exceptionally talented young people, no matter how highly skilled, would need to leave Scotland in order to complete their training. This critical gap in provision has now been filled, ensuring that native talent has the potential to be fully realised at home, as well as creating the opportunity for talented students from overseas to study under the auspices of Scotland’s nationally dance company in a conservatoire environment. Associate students also benefit from the link with the BA Modern Ballet Programme, which is delivered in partnership between Scottish Ballet and the Royal Conservatoire of Scotland. Students have had classes with staff from the degree programme and, in 2013/14, there are seven ex-Senior Associates training at the Conservatoire. In 2013, the RCS Junior Conservatoire of Dance was launched and offers classes for students between S1–S4, which many Associate students have successfully auditioned for.
Above: BA Modern Ballet students training at the Conservatoire. Photograph courtesy of the Royal Conservatoire of Scotland.
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The Future of Associates
Demand for places is high, with a significant increase in application numbers this past year. Almost 500 children auditioned for a place in the programme from all over Scotland. There were enough applicants of the appropriate quality to allow the boys class in the monthly Junior Associate programme to be continued. The success of the programme is most easily judged by the success of the students in gaining places in full-time vocational schools. The aim of the programme is to give students the skills to gain one of the few funded places and all of the final year students who wished to pursue a career in dance won scholarships.
In 2013, students were offered places at the following schools: The Royal Conservatoire of Scotland The Dance School of Scotland The Royal Ballet School Elmhurst School of Dance Central School of Ballet Hammond School Tring Park School Rambert School Ballet West
Bottom: A performance by BA Modern Ballet students. Photograph courtesy of the Royal Conservatoire of Scotland.
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Supporting Scottish Ballet
Scottish Ballet is extremely grateful to the Scottish Government for significant ongoing core funding which provides us with a solid foundation from which to develop. However, we must raise a further £2 million each year from other sources — including box office income, and donations from individuals, trusts and business sponsors — to fully realise and deliver the quality and depth of activity that we present across Scotland and beyond and support, among other things, productions, education activity, posts, audio description and orchestral instruments. Scottish Ballet’s work is helped made possible by many people and organisations. Importantly, the gifts that Friends and donors make alongside the strategic investments of key partners mean that the Company can innovate, make new work and offer opportunities for people of all ages and abilities to learn new skills and enjoy dance. We would very much like to thank all of Scottish Ballet’s supporters for helping us to deliver the wonderful projects you see outlined in this report, and in particular there are some highlights. During 2012 we re-launched the Friends of Scottish Ballet and welcomed many new people as supporters.
Our sincere thanks go to Adam & Company for their continuing sponsorship of the spring season. As title sponsors of the award winning A Streetcar Named Desire, Adam & Company’s staff and clients were able to join Scottish Ballet artistic staff and dancers throughout the tour to celebrate this partnership. Particular mention must also be made of The Monument Trust’s significant gift towards the Hansel & Gretel, and Me programme. This innovative creative and community project helped to involve thousands of people in 2013/14 winter production and create this brand new ballet. Without the Monument Trust, this large scale programme would not have been possible.
Below and opposite page: a participant in Scottish Ballet’s Hansel & Gretel, and Me project. Generously supported by The Monument Trust. Photographs by Andrew Ross.
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Achievements and Awards
During the course of the year, Scottish Ballet received a number of major industry awards.
Below: Eve Mutso as Blanche and Erik Cavallari in A Streetcar Named Desire. Photograph by Andrew Ross.
2012
2013
Critics’ Circle National Dance Awards Nomination
South Bank Awards
Best Female Dancer Eve Mutso
Critics’ Circle National Dance Awards Best Classical Choreography Annabelle Lopez Ochoa for A Streetcar Named Desire
Best Dance Production for A Streetcar Named Desire
Olivier Award Nomination Best New Dance Production for A Streetcar Named Desire
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Looking to the Future
Scottish Ballet continues to produce and tour a wide range of large-scale work. The Company’s 2013/14 schedule includes Matthew Bourne’s Highland Fling in spring acquired on an exclusive worldwide license, and a brand new production of Hansel & Gretel premiering in December and touring across the UK. Dance Odysseys at Edinburgh International Festival in August 2013 comprises of 14 performances over four days, together with a programme of film screenings and talks. Internationally, A Streetcar Named Desire is touring to the USA and Highland Fling to Hong Kong. Scottish Ballet continues to realise wider commissioning vision and breadth of distinctive programming, and to engage even further with local and international artists to develop new partnerships and approaches so that Scottish Ballet continues to enrich, enthuse and inspire audiences throughout Scotland and sustain a dynamic presence on the international stage.
Bethany Kingsley-Garner and Remi Andreoni in the poster for Highland Fling. Photograph by Nisbet | Wylie.
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Supporters and Funders
Activity during 2012/13 was made possible through substantial public and private support from the following organisations and individuals:
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Annual Report 2012/13
Trusts: Aberdeen Endowments Trust Astor of Hever Trust The Robertson Trust Barcapel Foundation Castansa Trust Dark Island Trust David and June Gordon Memorial Trust Esmée Fairbairn Foundation Esterson Trust Gordon Fraser Charitable Trust Guilford Academic Associates Jean R Stirrat’s Charitable Trust John Mather Charitable Trust Maidenwell Charitable Trust McGlashan Charitable Trust MEB Charitable Trust Mrs M A Lascalles Charitable Trust Sylvia Aitken Charitable Trust The Alma and Leslie Wolfson Charitable Trust The Binks Trust The Bryan Robertson Trust The Cruden Foundation The D’Oyly Carte Charitable Trust The Dunclay Charitable Trust The Educational Institute of Scotland (EIS) The Hugh Fraser Foundation The Idlewild Trust The James Wood Bequest Fund The JTH Charitable Trust The Martin Connell Charitable Trust The Merchants House of Glasgow The Moffat Charitable Trust The Monument Trust The Nancie Massey Charitable Trust The R S Macdonald Charitable Trust The Robertson Trust The Verden Sykes Trust The W A Cargill Fund The Winship Foundation YouthLink Scotland
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A very warm thank you to the members of our Director’s Circle: John and Hilary Austin Iain and Marion Barclay Michael Berry Jack Bogle Laura Buist Fiona Cairns Dennis Carmichael Victor and Carina Contini Nye Cooper Jacquelynn Craw Sir Sandy and Lady Margaret Crombie Dominic and Anne-Marie Fry Phil and Raine Gardner Kate and Gavin Gemmell Heather Gordon Frederick Hay and Annabeth McLean Julian and Julie Keanie Judith and Douglas Maccoll Lord Macfarlane of Bearsden Duncan and Una McGhie Lord and Lady Penrose Anne Reece Caroline Roxburgh Sir Muir and Lady Russell Alastair and Sheila Stewart Deborah Stewartby Graeme Taylor Leslie and Alma Wolfson
Scottish Ballet is a registered Scottish Charity No. SCO08037. Registered in Scotland No SC065497.