artistic & production credits san francisco ballet london tour sadler's ...

Movement solutions, th erefore, n ever l ook d ependant o n o r a ppended to th e m usic, b ut
develop in line with a thorough investigation of the score, with which they seem to be
constantly interwoven. H is c ollaboration w ith c omposers su ch a s M ichael N yman, O rlando
Gough, Colin Matthews su ccessfully exploited such an approach to the aural element.
Similarly, the collaboration with fine artists and designers such as Howard Hodgkin, Deanna
Petherbridge, Bruce McLean, John Morrell and Antony McDonald, who, like Page, engage in a
constant reassessment of their own art and question the givens of traditional culture, has
become another mainstay of his work.
It is not su rprising, th erefore, th at t hese si gnature f eatures h ave b een a t th e c ore o f P age’s
artistic vi sion f or S cottish B allet. H ence, th e a rtistic eclecticism that characterises the
company’s re pertoire a nd i nforms th e a rtistic g rowth o f i ts d ancers; w orks b y Balanchine,
Ashton, Alston, Robbins, Brown, Petronio and Forsythe are presented with stylistic accuracy
and sensibility alongside Page’s own works a nd h is re visionist, b ut n ever su perfluously
irreverent take on c lassics su ch a s The Nutcracker (2003), Cinderella (2005), and The
Sleeping Beauty (2007). Page, who received an OBE in 2006, believes firmly in keeping the
Company abreast of the ever-shifting changes that underscore the arts world. And the various
accolades the company has received under his d irectorship su ch a s th e T MA Aw ard for
Outstanding Achievement in Dance in 2004 and the Critic’s Circle National Dance Award for
Outstanding Repertoire (Classical) in 2008 - demonstrate he is totally right.
Biography by Giannandrea Poesio, courtesy of Scottish Ballet.
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