The past few weeks have been a tense time for Scottish Ballet. During the Edinburgh festival, the company's chief executive, Chris Barron, made the surprise announcement that artistic director Robert North would be leaving, and that Scottish Ballet would be concentrating on creating "a new body of work... to thrill and challenge audiences throughout Scotland, the UK and internationally". North's career stretches back to the beginnings of the London Contemporary Dance Theatre company in the 1960s; since being appointed artistic director of Scottish Ballet in 1999, he has revived and created mostly full-length contemporary ballets, to mixed reviews. Now the board is opting for a fully contemporary future, and North's number is up. In defiant mood, he is staying to oversee next year's programme.
The company is dancing on through the insecurities, and opens its tour with a new mixed bill. The programme begins with two pieces by Hans van Manen, leading light of the Netherlands Dance Theatre. In and Out (1983) is deceptively simple. Twelve dancers are drawn in and out of three black wardrobes, making twosomes, foursomes and collections of bodies. Out of the initial silence Laurie Anderson booms: "I was looking for you," in rich, optimistic American tones, speaking the song like a bell. If only Scottish Ballet's character were as clear, the piece might have been a little gem. The dancers' enthusiasm falls short of the poise required, particularly when the choreography gets raunchy to the German sound of Nina Hagen's voice.
Van Manen likes to keep his dance succinct. Sarcasms (1981) is a witty pas de deux with pianist that lasts 12 fleeting minutes. Lorna Scott and Luca Martini take too much of that time to warm up, but have clinching moments that just about rise to the flirty fun of the piece, climaxing bravely when he beats his breast with her body.
Two pieces by North fill the rest of the evening. The company is at its best in another 1980s revival, Death and the Maiden, accompanied by the Edinburgh Quartet. This is in part due to the presence of Linda Packer, now a veteran of the company. Her tiny frame falls believably to its doom under the hands of her violator and her sense of classical drama is well-suited to the dark, flowing, dress and moves.
The finale, North's Troy Game (1974), is still a great crowd teaser. An all-male cast clenches fists and grunts out war cries while play-fighting to a Brazilian beat. The piece has humour, speed and strength, and Scottish Ballet tackles it with enough sweat to make it work - a frame of mind the company needs to cultivate to face its uncertain (but also exciting and promising) future.
At His Majesty's Theatre, Aberdeen (01224 641122), on Friday and Saturday, and Festival Theatre, Edinburgh (0131-529 6000), October 11-13.
