Scottish Ballet
Edinburgh International Festival 2022

Direction & Choreography Morgann Runacre-Temple & Jessica Wright
Dramaturgy and Written Text Jeff James
Music Léo Delibes, Mikael Karlsson, Michael P Atkinson
Set and Lighting Bengt Gomer
Projection and Video Will Duke
Costumes Annemarie Woods
Associate Projection and Video Hayley Egan
Art Direction Sami Fendall

Production Photographs Andy Ross

Best Classical Choreography
Critics’ Circle National Dance Awards 2023

︎︎︎︎︎  The Telegraph
︎︎︎︎︎ The Scotsman
︎︎︎︎︎ The Herald
︎︎︎︎︎ The List
︎︎︎︎︎ Broadway Baby
︎︎︎︎︎ Festmag
︎︎︎︎︎ Arts Review Edinburgh
︎︎︎︎︎The Wee Review
︎︎︎︎︎ Reviews Hub
︎︎︎︎ The Guardian
︎︎︎︎ The Times
︎︎︎︎ Financial Times

The Telegraph Mark Monahan ︎︎︎︎︎

Well, if you’re going to reinvent a classic, don’t hold back. And certainly no one could accuse Scottish Ballet of half-heatedness with its dark new digital-age take on the lighthearted 1870 favourite Coppélia, as of-the-minute and as burnished as a box-fresh iPhone...

The always sinister, Pygmalion-ish concept of men first inventing and then desiring fake women inevitably evokes Stepford. But director-choreographers Morgann Runacre-Temple and Jessica Wright’s piece (dramaturgy by Jeff James) feels more like Alex Garland’s 2014 chiller Ex Machina writ large, while the climax is, in the best way, pure Black Mirror.