Empire Theatre, Eden Court, Inverness, 1 March 2008

Sara-Maria Barton and Jonathan Barton

RETRO is chic; the sixties are cool; and anyone who believes that the only way to go for good dance is a major reinterpretation of the classics should have been at Eden Court on Saturday to see wide-eyed little girls in tutus in the stalls and a delighted full house hanging from the top shelf.

Yes, Ballet West were back at Eden Court, and dancing the style of ballet that people actually want to see, rather than the style that some guru tells them they should see. As a company, the infrastructure may be somewhat less than that enjoyed by the national company; there may be no orchestra or conductor; there may be restraints on the lavishness of the sets. But there is no lack of passion, there is no lack of dedication, there is no lack of sheer hard work. And it shows in the end result.

On the face of it, there is no sense in Ballet West. What sane person would set up a ballet school in the depths of Argyll? The thing is, it works. Gillian Barton has persevered and her child has flourished, and her actual children have flourished as well, for both daughter Sara-Maria and son Jonathan fill the dual roles of Senior Principal Dancer and teacher at the school, and young Elijah is progressing through the ranks.

The students become a part of the Barton family and the location of the school encourages a community atmosphere as well as a powerful focus on dance. It is a young ballet company that uses a mix of professional dancers with students in the final stages of their dance training. Since it was established in 1995 the company has developed an enviable reputation for producing very high quality classical ballet, and thereby attracting an expanding loyal audience in venues throughout Scotland.

The audience anticipation was rewarded as the village square set was revealed, another Barton contribution, this time by Stan. It was simple but effective, being just the two bijoux residences of heroine Swanhilda and the mysterious Dr Coppélius. This allowed for the flexibility asked of a touring production, in Inverness giving a generous performance area which may not be available elsewhere.

It speaks volumes for the skills of the dancers that they are able to adapt so well when each performance has to be blocked out individually. My only reservation over the set is that maybe a little more ambience could be achieved with a backdrop of a rural scene. Modern technology allows for a variety of projected effects.

With Ballet West the standard of the main characters is guaranteed. Sara-Maria Barton and Jonathan Barton have been dance partners for several years and have a perfect rapport. Both have been members of English National Ballet and both are working every day with all the other members of the company, both soloist colleagues and students. As Swanhilda and Franz they captured the characters perfectly, displaying appropriate feistiness and youthful irresponsibility.

Ballet demands a balance between dance and mime to tell its story, and this pair has got it just right. To bring additional experience to the performance, Ballet West bring in a Guest Artist, for this tour the American Todd Fox in the role of Dr Coppélius, portraying mystery, mischief and benign menace.

In the soloist and corps de ballet roles the stage is filled by staff and students from the Ballet West School, led by Kelly McCole, Mike Rowell, Rachael Drummond and Yuka Aoyama all of whom graced the costumes of Anne Horn and Jan Hamilton, adding to the sparkle of this production. Some may have lacked the precision of experienced professionals, but that is why these young ladies are with Ballet West, and why they will go on to fill major roles with dance companies of international standing.

But what about the young men? Would it be churlish to ask whether Billy Elliot has reached Argyll? While Swanhilda is surrounded by her entourage, poor Franz is more like Billy No Mates! With all that pulchritude on hand, it is no wonder he flirts so outrageously, much to the chagrin of Swanhilda.

If you are looking for the inspiration when you get up in the morning to help with the drive and determination demanded of a dancer, and it is either a view of Ben Cruachan or the gasworks at the end of the road. Well, I know which I would choose. These guys are cooking on scenery!

© James Munro, 2008

Links

• Ballet West
• Eden Court Theatre