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Resident choreographer Sophie Laplane, star dancer with the company for 13 years before spreading her choreographic wings, takes on Scotland’s most tragic and divisive historical figure

Scottish Ballet are tremendous in Helen Pickett's riveting production of Arthur Miller's The Crucible.

A film and two live performances prove to be an excellent demonstration of Scottish Ballet's diverse talents.

In the third revival since 2014, Peter Darrell's 1973 Nutcracker still has all the right ingredients to send the audience home feeling joyous.

By the time a rain of multicoloured paper hands floated down from above, a bizarre figure in orange strolled onstage, ignored by everybody, the audience was in love with the whole thing.

Annabelle Lopez Ochoa's A Streetcar Named Desire for Scottish Ballet fires on all cylinders. Compelling drama and outstanding dancing make this a must-see.

Dawson’s stripped-down production throws the impetus immediately on his choreography, whilst keeping the bones of the story clearly in sight.

Christopher Hampson's reinvented version of his own original Cinderella, Cinders!, is a triumph of theatre, whether the central character is danced by a man or a woman.

Clearly on a mission to prove that today’s dance world comprises many styles that feed into and refresh each other, Scottish Ballet starts as it means to go on.

It’s back with the same team, slightly tweaked here and there and with a new generation of dancers taking on those iconic roles. What took them so long?

The integration of an onstage camera shooting live action film is not new, but Jess and Morgs are perfecting the art of adding this extra dimension to live performance.

Helen Pickett's slick and revealing adaptation of Arthur Miller's play receives its London premiere at Sadler's Wells. 

Sir Kenneth MacMillan's masterpiece is reimagined on a smaller scale, distilling the ballet into the essence of the personal relationships that led to the tragic events at Mayerling.

Gene Kelly's only ballet has been revived by Christopher Hampson, with an excellent twist.

Jess and Morgs continue to break the mould of tired dance films by directing their first full-length feature, which offers much more than just a different way of presenting dance.

A worthwhile addition to the locker of lockdown digital dance.

A welcome revival of Christopher Hampson's imaginative reworking of this perennial fairy tale 

Scottish Ballet's The Nutcracker, at the Edinburgh Festival Theatre sweeps the audience away to a magical snowscape of childhood wonder and sugar confectionery.

A pleasing finale to a remarkable nationwide celebration of a great British choreographer.  

A fine start to this unique collaboration between the five major ballet companies in the UK to mark the twenty-fifth anniversary of the passing of one of Britain's greatest choreographers 

Once again, Scottish Ballet produces another winner for the Edinburgh Festival Theatre with a double bill of ballets set to the emotive otherworldly harmonies of composer, Igor Stravinsky.

Scottish Ballet meets the complex challenges of two great contemporary choreographers with considerable beauty 

Annabelle Lopez Ochoa has created a masterpiece with her A Streetcar Named Desire for Scottish Ballet.

Scottish Ballet’s Each Other taps into the visceral impact from the image of worn, discarded shoes to create a poignant and compelling piece about the tensions between different groups.

It was a successful program that showed off the considerable range of a talented and charming troupe.

A tale that is rarely used in ballet set to familiar music that now finds a new life in dance 

From whistles to buzzing bees, Scottish Ballet’s October double-bill of Siblio and Emergence delight the Theatre Royal in Glasgow.

Annabelle Lopez Ochoa and Nancy Meckler's stunning stage adaptation of Tenesse Williams' A Streetcar Named Desire delights Scottish Balllet audiences in London.

Scottish Ballet presents Krzysztof Pastor’s Romeo & Juliet (2008), an innovative presentation of the story through several different time settings, at Sadler’s Wells.

Once upon a time, Scottish Ballet put on a magical performance of Christopher Hampson’s Hansel & Gretel at His Majesty’s Theatre in Aberdeen. 

The comedic Scots ditty “Donald Where’s Your Troosers?” is not your typical balletic overture, but then Matthew Bourne’s Highland Fling is not your typical Scottish Ballet production.

It seemed strange to come out of the theatre humming “It’s Only a Paper Moon” when a few moments before there had been brutality, madness and a horrific rape scene on stage. But that 1933 song runs throughout the scenario of Scottish Ballet’s new production of A Streetcar named Desire – as it did in the original play – reminding of the difference between reality and dreaming.

Scottish Ballet’s brief trip south of the border - just two performances - not only brought a company of vital athletic dancers to the capital but also chose the occasion to announce its new artistic director.