We launched our 2020 season over four days in four cities across Scotland.

Over the weekend we announced the return of two of the world’s most popular ballets – David Dawson’s raw and intense Swan Lake in spring, and festive family favourite Peter Darrell's The Nutcracker as our winter tour.

In April, contemporary works MC 14/22 and Sibilo will form a cutting-edge double bill – This is My Body..., marking Scottish Ballet's Linbury Theatre debut at the Royal Opera House London. With radically contrasting dance styles, equally compelling in emotional impact, the double bill will also tour to New York, with more details announced in winter 2019.

In autumn, Scottish Ballet will bring our third 'Five in Five' world premiere production to the stage – The Scandal at Mayerling – a reimagined and redesigned version of Sir Kenneth MacMillan's classic. This will be the first time this dramatic masterpiece will be produced in the UK, outside of London.

‘It’s been an incredibly exciting time for Scottish Ballet during the company’s 50th anniversary year. The 2020/21 season connects us with audiences from across the world through an invigorating repertoire showcasing some of today’s most cutting-edge choreographers, and Scottish Ballet’s adventurous, daring and unique style.'

Christopher Hampson, CEO / Artistic Director

Off-Stage Creative Collaborations

Visual Artist Callout

As part of the 2020 season launch, we invited visual artists to apply to collaborate on a specially commissioned series of works.

Over 70 artists submitted their proposals before figurative-artist Alan McGowan was invited into Scottish Ballet where he spent the day in the studio painting in response to the season imagery of Swan LakeThe Scandal at Mayerling and The Nutcracker.

The process of the artist painting each campaign image was filmed, culminating in a series of time-lapse films that were projected on Buchanan Galleries in Glasgow, Dunrobin Castle near Inverness, Marshall College in Aberdeen, the French Institute for Scotland, and the University of Edinburgh’s McEwan Hall.

Alan is an award-winning artist and teacher based in Edinburgh, who specialises in figurative drawing and painting. In 2018 he was awarded second prize in The Scottish Portrait Awards, and in 2014 he was a semi-finalist in the Sky Art Portrait Artist of the Year.

Alan's work has been exhibited at the National Portrait Gallery in London, and appears in the public collections of the Royal Scottish Academy and Stirling University.

‘I have for a long time been interested in music and dance and how movement might be translated into the static medium of painting, so I jumped at the chance to collaborate with Scottish Ballet. The challenge was to try to communicate the energy of dance in paint, and to reflect the different atmospheres of each production.’

Alan McGowan, Figurative Artist

Writer in Residence, delivered in partnership with The Work Room

We're proud to be collaborating with The Work Room to welcome Joyce Welsh Dixon as our shared Writer in Residence, as part of a PhD residency funded by the Scottish Graduate School for Arts & Humanities.

The residency allows her to develop a body of creative writing in response to dance and choreography. She will have the opportunity to observe choreographers and dancers in creation and rehearsal periods, as well as have conversations with the artists and other creatives about their work.

A PhD researcher in History of Art at the University of Edinburgh, with an MA in Critical Writing in Art and Design from London's Royal College of Art, Joyce will form a body of work that will respond to dance through creative and critical writing.

Her thesis was awarded the 2015 Critical Writing in Art and Design Award for the Best Final Major Project. She is a published writer and has appeared across a variety of books, Journals and magazines including Art Review, and is a regular lecturer.

‘Everything about this creative writing residency with Scottish Ballet and The Work Room excites me – from the Tramway building itself where the organisations are based, to the highly skilled artists and dancers practising within. This is a unique opportunity to experience the inner workings and everyday goings on of two very different dance organisations, and to translate this experience into a body of work that explores my own creativity as a writer.’

Joyce Welsh Dixon, Writer in Residence