EXTREMELY short skirts, men in tights and dance moves to make a contortionist's eyes water. Is it a risqué nightclub or Scotland's national ballet company?
It is actually a mix of both. Scottish Ballet is hosting special nights for regular patrons of Glasgow nightspot Club Noir, where the atmosphere is definitely more Dita Von Teese than Darcey Bussell.
The Government-funded body is offering cut-pric
e tickets and drinks receptions for burlesque devotees in a bold bid to attract a younger, more edgy audience.
Officials from Scottish Ballet hope the unorthodox collaboration will help dispel any lingering notions that it is a snobby or staid organisation.
Over the past 40 years the company has had rave reviews in the UK and worldwide for its productions of works such as Romeo And Juliet, Cinderella and Sleeping Beauty.
But in recent years, under the innovative and radical leadership of artistic director Ashley Page, the body has delighted in slaying sacred cows and radically reinventing classic works.
Since it was established five years ago, Club Noir regularly attracts crowds of more than 2,000 people, who revel in its up-market striptease and cabaret shows, where performers often end up wearing little more than nipple tassels and rhinestone thongs.
Scottish Ballet spokeswoman Charlotte Gross was excited about forging links between the two dance-based organisations.
She said: "We are very keen to link up with Club Noir because the people who go there love dancing, love going out, are stylish, sociable and appreciate great costumes.
"There are links between our two audiences and we are delighted to be able to formalise that.
"There is still a conception among some people that ballet is boring and of another age.
"We are determined to show that what we do is very relevant to people today."
People on the Club Noir mailing list will benefit from a 20% discount for some performances of a forthcoming double-bill, featuring a revitalised version of Carmen and the anarchic contemporary dance work Cheating, Lying, Stealing.
They will also receive free programmes and a complimentary cocktail in a private suite at the interval.
The show, which premieres later this month, is being billed as "sexy, fiery and full of passion", while audience members are encouraged to comply with a "sultry and passionate" dress code.
Gross said the show would definitely appeal to fans of the burlesque scene.
"Both performances will examine the idea of sexuality and how women can control men through their womanly powers."
The revamped version of Carmen will feature costumes inspired by the catwalk designs of the cutting-edge fashion designers John Galliano and Christian Lacroix, while the second performance promises "gorgeous dancers performing around a flaming sofa".
Gross felt the move would not offend any regular audience members. "We are very enthusiastic about widening our appeal as far as possible and hope it will be very successful."
Gross was also keen to see Scottish Ballet members putting on shows at Club Noir in future. She said: "It is certainly something we have been talking about and hopefully it can happen in the future.
"We did a free performance at the Merchant City Festival in Glasgow, which was great and attracted loads of students and young people, and are definitely keen to do more things like that."
Currently two of Scottish Ballet's male dancers, Luke Ahmet and Oliver Rydout, perform regularly at Club Noir on an unofficial, personal basis under the title Ballet Blue.
Ian Single, who co-runs Club Noir, reassured ballet fans they would be unlikely to be sitting next to dozens of scantily-clad newcomers.
He said: "I'm really not sure if this will raise a few eyebrows with some of the more traditional patrons of Scottish Ballet. That remains to be seen.
"However, they can rest assured that Club Noir regulars won't be turning up to see Carmen in their underwear."
COMMENT: CHITRA RAMASWAMYScottish Ballet is going burlesque. What on earth does it mean?
At first sight, it seems incongruous. We're talking, after all, about a company that performs such esteemed classics of the ballet repertoire as Romeo And Juliet, The Nutcracker and Sleeping Beauty. Over at Glasgow's Carling Academy, where Club Noir takes over monthly, you're more likely to see 2,000 clubbers bumping and grinding to "a one-off mix of striptease, fetish acts, vaudeville and DJs" and "a bizarre collection of freaks and uniques".
It's smart thinking during a recession: fresh audiences are crucial to the arts right now. Yet I sense the raising of eyebrows in the dress circle of the Theatre Royal. What exactly does all this sleaze and hedonism have to do with the high-minded classicism of ballet?
Quite a lot. Remember, the Scottish Ballet we've applauded since Ashley Page took the helm in 2002 is as sensual and irreverent as it is respectful of the war horses of the repertoire. We have had a Cinderella that owes as much to Vivienne Westwood as it does to Prokofiev, choreography by the enfant terrible of New York, Stephen Petronio, with dancers undulating to Radiohead.
Now that I think about it, Page is basically the cabaret emcee of Scottish Ballet. He has introduced high glamour, attitude and a knowing wink. The spirit of burlesque is already alive and well at Scottish Ballet.
The full article contains 896 words and appears in Scotland On Sunday newspaper.
