Artisitic differences
Ashley Page said in a statement this morning that he's leaving "with great sadness and regret".
He'd asked the board for a five year contract when his tenure with the company ends in 2012.
Instead, they offered him one year, and according to Mr Page, made it quite clear they wanted new creative approaches and influences.
It's a short-sighted move.
The company came close to closure in the 1990s.
After the death of its founder, Peter Darrell, it struggled to rebrand itself.
Poor decision-making and a lack of finance further increased the downward spiral.
It failed to impress as a classical company under Galina Samsova.
Its reinvention as a modern ballet company under Robert North, is probably best forgotten.
Ashley Page - fresh from the Royal Ballet - was uncompromising in his approach.
He wanted a clean page and a radical clear-out of dancers.
He wanted more money for a slimmed down, modern company, capable of performing modern ballet.
The board obliged - even giving him the freedom of a nine month period of darkness so that the company could retrain and emerge refreshed and renewed.
The results spoke for themselves.
Critics loved the new company and the pared down, simple work.
Loyal audiences used to more traditional fare took slightly longer to win over but his Christmas offerings - dark versions of Cinderella, Sleeping Beauty and the Nutcracker - did the trick.
Scottish Ballet returned to perform at the Edinburgh International Festival - after an absence of more than two decades - and took it by storm.
In 2006, they performed in London for the first time in seven years.
In 2009, they toured overseas for the first time since 2001 and made their first visit to China in almost 20 years.
Their reinvention was complete.
So why is the board turning away the man who turned the company around?
By 2012, Page will have had a decade in the job.
Perhaps they feel it's time to give someone else with the same bullish, take-no-prisoners-approach, a chance to work their own magic.
At 54, they may feel Page needs a younger successor, someone who will forge new relationships with young and vibrant companies and choreographers.
But let's hope they have someone in mind - and are already making approaches.
While the company is in good shape - and the role of artistic director is a plum job - we live in uncertain times.
Cuts to the national company budgets are unavoidable.
Festivals and other showcases will have little money for new commissions.
Artistic ability will have to be tempered by a very real understanding of the economic climate.
The company may not face the dilemma they did more than a decade ago, working through a list of names and numbers and hoping someone - anyone - would salvage the company.
But it's still going to be a challenge - and having made the decision, they must pursue the right candidate with vigour and confidence.
Ashley Page views the decision with "great disappointment".
I suspect he's not the only one.
Not London’s South Bank, but the south bank of the River Clyde in Glasgow - every bit as lively in cultural terms as its namesake. I’m Pauline McLean, ´óÏó´«Ã½ Scotland’s arts correspondent, and I’ll be blogging here about arts events and issues happening across the country.
Comment number 1.
At 9th Nov 2010, Ecksfreelunch wrote:An outcome that seems genuinely unnecessary. Ashley page did put Scottish Ballet back on the world stage and without him at the helm we may struggle. Ideally I would have preferred to see the successor announced simultaneously, but after a decade, Page is being somewhat pushed off stage. Perhaps a decade in charge is long enough. If that is the case, an ongoing connection with Page would have continued to benefit Scottish Ballet because he will go on to another great artistic role in dance. Good luck to him and I hope the new hire will be equally inspirational.
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Comment number 2.
At 9th Nov 2010, Save Scottish Ballet wrote:When Ashley Page joined, this once great ballet company was on its knees, threatened with closure. Today it is unrecognisable, having picked up numerous prestigious awards along with 5 star reviews and a resumption of international tours, promoting our country positively abroad. Ashley Page has been totally dedicated to the company for the last 8 years which has been recognised with an OBE.
And for the Scottish Ballet Board to treat him this way is not only outrageous it is also creative suicide! Ashley Page is the lynch pin of the company. If he is removed as Artistic Director, it will tear the heart and soul out of our National Ballet Company. The dancers, the repertoire and the very essence of the company have been shaped by him. Highly skilled dancers from around the globe are here to work with him. Internationally acclaimed choreographers come here to work with him. Tours are sold out because of him. If he goes all that goes also, potentially along with his choreographies that have so defined this Company.
One has to question the capabilities of a board that could take such a cruel and catastrophic decision. The Company’s founder, Peter Darrel was a great, innovative Creative Director, mixing the classical with the contemporary. He wasn’t dismissed after ten years! Ashley Page is a worthy successor who should be provided with a minimum 5 year contract, to allow him to continue the exceptional work he has been carrying out.
Anyone who cares about Scottish Ballet, please write to the Scottish Parliament to ask that Ashley Page be retained as Creative Director as he so rightly deserves.
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Comment number 3.
At 10th Nov 2010, Brian wrote:It is pertinent to ask if the board of Scottish Ballet has a plan. Certainly it seems an incredible move to ditch a successful artistic director in the midst of severe restrictions in arts funding.
We are entitled to know what the strategy is here. If their actions cannot be justified the CEO and the board should consider their position. They will be easier to replace than Ashley will. Let’s see how long it is before he is snapped up by another company.
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Comment number 4.
At 11th Nov 2010, scamp69 wrote:Ashley Page's appointment was a bold one and has proved a great success. Perhaps we ought to commend the company for continuing to take a bold and optimistic view of the future, particularly in these times. As for the nature of his leaving I don't suppose these situations are ever easy.
In the discussion about the nature of Page's leaving we ought not to forget that Scottish Ballet is a company of many talented people. All performing arts are collaborative, many minds and hands are needed to produce what we see on stage. Scottish Ballet has a challenge in finding a successor to Page but we should not believe the re-invention of the company was his single-handed achievement.
The company is wonderful to see these days, we ought be proud of that, grateful for Page's role in the transformation and look forward to what he offers us in the time before his departure. I wish Page well in his future career and look forward to continuing success at Scottish Ballet.
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