Scottish Ballet, We Dance to Radiohead Too

Scottish Ballet pulled out all the stops in their Autumn triple bill, enrolling the best in choreography, music and costume. Opening the show was Steven Petriono’s Ride the Beast: dancers thrashed onto the stage, inviting the audience to, unusually, rock out to the music of Radiohead. Costumes were provided by Benjamin Cho, a mix of metallic hotpants, tassles, tails and Cho’s renowned woven intricacy, with bursts of bright colour; the dancers sprung and soared across the stage like birds. The music and dance grew in intensity as the piece progressed, climaxing to The National Anthem (Radiohead tune, low on pomp and circumstance). The whole thing was extremely cool: full of precision, detail, energy and delicacy, and to an imaginative soundtrack.

Second on was MG: The Movie, by acclaimed choreographer Trisha Brown. The piece contrasted hugely against Ride the Beast: nude costumes, subtle movements and slow paced, trickling music, interlaced with gunshots, rattles and screams. It had an unsettling atmosphere, the audience both recoiled and drawn in, as the dancers wove and twisted like lost, sexless souls.

The finale was the world premier of Pennies from Heaven, an upbeat, nostalgic depiction of love and glamour, set in a 1920’s dancehall. Fast-paced and fun, with tongue-in-cheek humour and complete silliness at times. A visual, vintage treat of tailcoats and pearls, sailors, bellboys and a singing quartet of cowboys to finish, set against a digital, changing backdrop. A fantastically fun way to close the show, and perhaps a happy medium between the two acts that preceded it.

Scottish Ballet has produced an eclectic mix that challenges in terms of music, costume and dance. The dancers were stretched to their absolute capacities, as was the audience at times, who witnessed an array of visuals, emotions and tastes. This will hopefully ensure a widened audience for the Scottish Ballet, and is certainly a leap in the right direction.