The Snow Queen

Festival Theatre, 27/11/25

Scottish Ballet, director Christopher Hampson, Scottish Ballet Orchestra, guest conductor Martin Yates

Scottish Ballet’s popular production of ‘The Snow Queen’ is given a third Christmas outing since it premiered in 2019. It is adapted from the original story by Hans Christian Andersen, as was the seemingly ubiquitous film ‘Frozen’. However, this is much more than merely ‘Frozen’ en pointe. I recommend reading Andersen’s original tale to understand just how different these adaptations are, and yet the contrasting themes of love, misunderstanding, and reconciliation are common to all.

After the scene-setting snowy conflict between the Snow Queen (Jessica Fyfe) and her headstrong sister the Summer Princess/Lexi (Melissa Polson), Christopher Hampson’s choreography shows masterly restraint in the marketplace scene and between the two lovers Gerda (Kayla-Maree Tarantolo) and Kai (Bruno Micchiardi). Then the circus comes to town with clowns, acrobats, a strongman, and a ballerina, and the stage explodes with colour, energy, and excitement.

Lez Brotherson’s design is also full of contrasts, with a geometric ice palace in snowy wastes giving way to the drab, monochrome buildings and costumes of the 1940s in the marketplace scene, Gerda’s red jacket standing out from the dullness. Then the circus comes to town, exploding with extravagant colours, characters, and drama. At the climax of the excitement Kai disappears, stolen by the Snow Queen in revenge for her sister’s desertion. Gerda sets out to find him, accompanied by Lexi.

The lighting by Paul Pyant encompasses some excellent effects, with shattering mirrors, swirling snow, real fire in the travellers’ camp, and the encroaching forest reflecting the chaos and menace of the plot.

The music is arranged by Richard Honner from works by Rimsky Korsakov, notably his opera ‘The Snow Maiden’ (no relation). It also includes ‘Flight of the Bumblebee’ to accompany Kai’s frenzied dance when the mirror fragments enter his eyes and heart. When Gerda and Lexi visit the travellers’ camp in Act 2, Capriccio Espagnol accompanies the dancers clad in extravagant costumes with swirling skirts, bright colours, and full sleeves. The dance pays homage to flamenco, with its strident rhythm and passion. A lone violinist (Gill Risi, transplanted from the orchestra) wanders between the dancers, playing the piece for solo violin with orchestral accompaniment as originally intended by the composer. The Scottish Ballet Orchestra is superb as always, with strident brass, gentle woodwind, and plenty of percussion including not one but two glockenspiels (literally ‘little toy bells’).

Gerda’s perilous journey to rescue Kai sees her encountering wolves, swirling snowflakes, and menacing Jack Frosts, and the climactic scene in the Snow Queen’s Ice Palace shows the conflict between true love, jealousy, and desire. The Snow Queen is defeated, right triumphs, and the two lovers are reunited.

The enthusiastic audience of all ages (including a sprinkling of small Snow Princesses) gave ‘The Snow Queen’ a rapturous reception. It is a worthy addition to Scottish Ballet’s canon of festive favourites.

Photo credit: Scottish Ballet