Adieu to Principal Sophie Martin

Many of our audience members can tell you the first time they saw Principal Sophie Martin perform with Scottish Ballet. Sophie’s grace, strength and ability to adapt to any choreographic style has been admired since joining the Company in 2003, inspiring audiences, colleagues and choreographers alike. She has shone in countless productions, including David Dawson’s Swan Lake, George Balanchine’s Rubies, Christopher Hampson’s The Rite of Spring, Peter Darrell’s The Nutcracker, and most recently, Sir Kenneth MacMillan’s The Scandal at Mayerling. This September, we’ll be saying a fond farewell to Sophie as she moves overseas to be closer to her family. We caught up with her to reflect on her time with the company and discover what she has planned next.

Sophie is a white dancer wearing her hair in a bun. She is in a tutu and tiara on a stage with a Christmas bauble filled backdrop.

Sophie Martin as The Sugar Plum Fairy in The Nutcracker

What initially drew you to Scottish Ballet?

In 2002, during my last year of school at the Conservatoire of Music and Dance in Paris, I was doing junior ballet and had just finished my academic studies. That was the year we would concentrate on performing more and actively look for a job. The internet wasn’t huge at the time, so we relied a lot on dance magazines. Whilst we were touring around France, we read that Scottish Ballet was hosting auditions in Paris. My student colleagues and I all decided to go, even though our school wouldn’t let us because we had a show the next day! It was almost too good to be true – Scottish Ballet arrived right on our doorstep and we didn’t have to spend hundreds of pounds to fly somewhere else. It was unusual for a dance company to host auditions in different cities, as they usually hold them at headquarters. Ashley Page, former Artistic Director at Scottish Ballet, had just joined the company and they were looking for 14 new dancers – which doesn’t happen often. I was lucky – it was the right time, and the right place.

How did you find Scotland when you first arrived?

I didn’t know anything about Scotland or Glasgow at the time. I was just very happy to have a job! I felt a bit lost, with the language and everything. Glasgow was a very different city back in 2003, there were no artisan bakeries like there are today. I remember thinking ‘Where will I find my pain au chocolat?!’ Even the baguettes were terrible back then, so I had toast instead!

I remember thinking ‘Where will I find my pain au chocolat?!’ Even the baguettes were terrible back then, so I had toast instead!

What were your first impressions of Scottish Ballet?

Scottish Ballet HQ was at 261 West Princes Street when I joined. We were in the West End and it was easy for socialising after work – which helped with learning English. Everyone was very friendly. I had no idea what people were saying (!) but I remember thinking ‘This is nice!’ We were busy straight away when I started as an Artist. Working with Ashley Page was a huge part of the start of my career. I had fun working with different styles of dance and choreography and formed a great deal of discipline during this time.

Tell us about your first major production with the Company?

In Autumn 2004, the Company opened the season with three productions including two from Hans Van Manen and Artefact by William Forsythe, and I was in all three. It felt great to be dancing so much. Ashley first asked if it was too much pressure to be in all three, three nights in a row as I was in a duet and leading role in the same night. But I said no, I was doing something I loved. I thought ‘This is good, I want to do more.’

How was your journey to becoming a Principal Dancer?

When I joined the Company, Artists were doing Principal roles too as it was cast by type of role rather than position. I kept dancing in a range of roles, including Principal roles and then eventually found myself becoming a Principal five years later, in 2008 after performing as Juliet in Romeo & Juliet.

Sophie stands on pointe, stretching a leg out behind her and holds the head of a male dancer who supports her from the waist

Sophie Martin as Juliet in Romeo and Juliet

How was the move to the current Scottish Ballet HQ?

In 2009 we moved to the current building next to Tramway. We were all very excited because the building is beautiful, and the facilities are amazing – we have a sauna!

What was it like when Christopher Hampson joined the Company in 2012?

I hadn’t heard of Christopher before he arrived. However, I did see the production of Romeo and Juliet he had created for the Royal New Zealand Ballet (RNZB). We were all unsure what to expect. But it is wonderful to work with Chris. He gave us freedom to explore how we want to work, and that led to my own development as a Principal of 4 years when he joined.

Christopher’s first production at Scottish Ballet was Hansel and Gretel. I played the role of Gretel. It was great to take our time, working on the storyline with him. The Rite of Spring was an interesting production with its striking visuals, I would love to do it again. When you are performing it, you can’t see the full stage like the audience do, so I was always curious to see how it looked.

Sophie lies on the back of a crouching dancer and points a torch out as she looks at something

Sophie Martin and Constant Vigier in Christopher Hampson’s Hansel & Gretel.

What are your fondest memories from productions over the years?

Working with choreographer Crystal Pite was very special and I wish we did it more than once. The Highlands and Islands Tour of Matthew Bourne’s Highland Fling allowed me to see parts of Scotland properly for the first time. To be able to tour like that with work was amazing. Whilst playing Stella from A Streetcar Named Desire, we focused on the acting and it helped me with other productions that involved a lot of storytelling, like The Crucible and The Scandal at Mayerling. William Forsythe’s Artefact was amazing because the whole Company was pushing themselves to develop on stage together.

Sophie is held up by a male dancer in a curved position, arching her back with her feet over her head

Sophie Martin as Stella and Tama Barry as Stanley in Nancy Meckler and Annabelle Lopez Ochoa’s A Streetcar Named Desire.

How have you kept up your fitness over the years?

During the length of my career, my schedule was always busy so I never had to make extra time to specifically keep fit. But when I was pregnant with Leona I had to do less, and I knew that was best for me. My partner Simon, who is an Artist at the Company, took turns to look after Leona and we shared our maternity/paternity leave whilst at Scottish Ballet. I thought I would swiftly return after my pregnancy but then lockdown happened and my return was delayed. That was when I focused on getting fit again. Thankfully I didn’t have to tour right away. But now at the age of 37, I need to make a more conscious effort to keep fit and stay in shape.

What is next for you?

Having been at Scottish Ballet for 19 years, now feels like an appropriate time to have a ‘second wind’. During Covid, Simon and I started looking at options to be closer to my family in France and his family in Germany. There were more options nearer his home in Germany, so we have decided to move there at the end of year as a family. My daughter Leona, who is now two and a half will be starting nursery there.

I’ll be joining Staatsballett Kalsruhe (Kalsruhe State Ballet) as a dancer. It will be slightly different to what I am used to here as it’s not a touring company. I don’t speak German either, so it will take some time to adjust!

What will you miss the most?

I’ll miss how fun and friendly Scottish people are and how lively Glasgow is. It will always hold great nostalgia for me. I arrived here at the age of 18, so I am leaving half my adulthood here – the touring, going to gigs, pubs and events. I am so glad I got to experience it all in my twenties and most of my thirties. Now that I have a family, it’s time to find a bit of stability. I couldn’t have asked for more and I’ll always cherish my time in Scotland and at Scottish Ballet.

Arriving as a new Artistic Director ten years ago, my life was made easier knowing there was a Principal dancer with such immense talent leading the Company. When I created my first works for Scottish Ballet, Sophie was a new source of inspiration. Her ability to elevate the voice of any choreographer she works with and to inspire audiences and colleagues alike has enriched Scottish Ballet beyond measure.

Christopher Hampson, CEO/Artistic Director

Sophie and Constance point a foot out to their side with their arms held up overhead

Sophie Martin and Constance Devernay in Hans van Manen's 5 Tangos

Sophie was born to dance and she has been inspiring me since my first day in the company. I have learned so much from her, and I have been lucky to be a part of her journey at Scottish Ballet. Sophie’s dancing is irreplaceable, and I will miss getting ready with her in the dressing room before performances. One of my highlights was watching on TV the pas de deux with Sophie and Christopher Harrison at the Commonwealth Games opening ceremony in Glasgow, which Christopher Hampson choreographed. I have never felt prouder to be part of Scottish Ballet.

Constance Devernay-Laurence, Scottish Ballet Principal

When I first arrived at Scottish Ballet I saw Sophie dance in Romeo & Juliet. I loved watching her ability to transform into the character with beautiful fluid movement and her seamless technique. Sophie has been such an inspiration to me both on and off stage as well as a great friend outside of work. Her world-class artistry has contributed to many of our productions and I’ve been privileged to watch her working with and inspiring many choreographers. Her magical performance as Odette/Odile in Swan Lake is forever etched in my memory. I will miss her dearly.

Eado Turgeman, Scottish Ballet Artist