Scottish Ballet’s witchcraft and Welshmen

The leaves are on the move, temperatures are settling down, and with the turn of the season comes Scottish Ballet’s autumn season — and a world premiere, no less.

The company is never averse to converting an unusual text to dance and this year’s big first is no exception, with both a classic American play and the work of a celebrated Welsh poet brought together in a study of words in motion.

First up, and perhaps fitting for the season, is the world premiere of

Californian choreographer Helen Pickett takes the helm on Arthur Miller’s 1953 Tony winner, translating a tale of sin and malicious gossip into the language of dance.

She commented: “It’s a fulfilling dramatic story. The play has inspired so much art, and it inspired me to choreograph the story — so much lends it to being an interesting jump-off point for dance.

“I wanted to make much more of the dance scene in the forest because it’s the catalyst for the story and I’ve set it to this great big rave-sounding soundtrack from UK producer and electronica artist Jon Hopkins.”

So far, so inventive — and the surprises keep on coming, with soundtrack pieces from


Then, there’s the UK premiere of

Building on the melodic rhythm of each, the aim is to bring each poem to life in vignettes of story and character — fitting, as 2014 marks the centenary year of the poet’s birth.

Christopher Hampson, Scottish Ballet artistic director, said: “Dance has an ability to communicate a story without words in a way that has inspired choreographers over generations.

“Placing the works of Dylan Thomas and Arthur Miller in the hands of two choreographers that are both passionate storytellers will ensure that this is a bill as thought-provoking as it is entertaining.”