Image: Scottish Ballet
Scottish Ballet return to His Majesty’s Theatre this week with their mesmerising production of The Snow Queen. Following a hugely successful tour in 2022, the production returns to Scotland throughout the festive season. Inspired by Hans Christian Andersen’s classic tale of the same name – and notably the story that formed the basis for Disney’s Frozen – Scottish Ballet’s rendition feels both familiar and distinctively unique.
Set to the sweeping music of Rimsky-Korsakov, choreographed by Christopher Hampson CBE, with design by the award-winning Lez Brotherston, this story of love, friendship and family lights up the stage and might just be the perfect cure for the winter blues and post festive slump. Aberdeen itself was almost too on brand for this icy tale, having experienced our own bout of ‘Snowgeddon’ just weeks prior, but a somewhat stormy Wednesday night did nothing to dampen the bustling atmosphere for press night.
From the lively hum of a winter market to the eerie stillness of a fairytale forest, the journey leads us to the Snow Queen’s palace, where she reigns amid the frozen shards of an enchanted mirror. Along the way, a vivid cast of characters emerges, from young lovers torn apart by magic to a mischievous circus ringmaster full of surprises.
Roseanna Leney leads the company as the titular Snow Queen. Much like her recent performance as Mary in Scottish Ballet’s Mary, Queen of Scots, Leney is captivating from the moment the curtain rises. Each movement feels purposeful and poised, and her petite stature somehow fills the stage, enhanced beautifully by Brotherston’s striking design. By her side is Grace Horler as her sister, the Summer Princess, Lexi. The pair work seamlessly together throughout, with Leney’s cool, authoritative presence providing a compelling counterpoint to Horler’s playful and mischievous Lexi. They capture the emotional complexity of sibling relationships well, allowing space for individuality while blending effortlessly as a duo throughout.
Frequently interacting with the pair is Evan Loudon as Kai – the handsome young man the Snow Queen first shows her sister through the enchanted mirror. Loudon becomes the central male love interest between the Snow Queen, Lexi, and ultimately his fiancée, Gerda, portrayed by Gina Scott. The four principals share strong, compelling chemistry, navigating complex relationships boldly while still allowing room for quieter, more tender moments. Gerda and Kai’s final duet, in particular, provides a deeply satisfying and graceful resolution to the story. Scott performs her solos with ease, emotional clarity and refinement, and is consistently captivating to watch.
The story of The Snow Queen lends itself to a wonderfully diverse array of characters. Midway through Act One, we are introduced to the circus troupe, led by Thomas Edwards as Zach the Ringmaster and Marlen Fuerte Castro as Mazelda, his wife and a fortune teller. Edwards and Fuerte Castro deliver standout performances as this mischievous duo – with Edwards’ Ringmaster bearing a striking resemblance to Alan Cumming! Their somewhat addictive dynamic and defined characterisation is an absolute joy to watch, and their atmospheric, fiery Act Two number in the Travellers’ Camp is a particular highlight of the piece.
While the story itself is not emotionally heavy by any means, Charley Austin and Hamish Longley provide welcome comic relief as the two circus clowns. Delivering both humorous and technically impressive choreography with ease, the pair move almost as one entity, while still blending seamlessly with the wider cast when required.
Further notable performances include Benjamin Thomas as the Striking Strongman, pairing alongside Kayla-Maree Tarantolo as the picture perfect Ballerina, as well as circus acrobats Alice Kawalek and Urara Takata. Gillian Risi shines in her onstage musician role throughout Act Two, enhancing the atmosphere of the Travellers’ Camp and accompanying Gerda on her journey to the Ice Palace. This in particular is another highlight, putting a Scottish Ballet stamp on the piece.
Photo Credit: Scottish Ballet
The wider company includes Jessica Fyfe, Bruno Micchiardi, Yuri Marques, Melissa Polson, Claire Souet, Andrea Azzari, Rishan Benjamin, James Garrington, Harvey Littlefield, Anna Williams, Antonia Cramb, Hannah Cubitt, Harvey Evans, Theo Greenfield, Mackenzie Jacob, Hamish Longley, Dania Marzilli, Annabelle McCoy, Mayu Takata, Claire Tjoe-Fat, Elizabeth Williams, Seira Winning, Lucie McLaughlin, Sophie Passant, Madeline Newington, Renee Wong, Rowan Craske and Ryan McBride.
The Snow Queen also marks a triumphant return to his hometown for Scottish Ballet artist Alfie McPherson, alongside local youngsters Pixie Stuart and Neo Watson.
Scottish Ballet’s artists continue to demonstrate exceptional versatility. Their ability to transform seamlessly from townspeople to travellers to snowflakes and Jack Frosts is simply magical to watch. While the company delivers outstanding solo moments, it is when they move as one that the production becomes truly spellbinding.
Rimsky-Korsakov’s score, performed by the full Scottish Ballet Orchestra, makes the entire production a true feast for the senses. There is simply nothing that compares to the power of live orchestral music and it elevates the entire experience for both eyes and ears.
Christopher Hampson CBE, a familiar and trusted presence at Scottish Ballet, brings choreography that is playful and witty, while balancing tender, classical moments with complete ease. His work here feels particularly engaging and timeless. His previous work with Scottish Ballet includes: Choreography for much loved prodcutions of Hansel & Gretel and Cinders. Hampson is further credited with directing and co-creating Peter Darrell’s production of The Nutcracker and Gene Kelly’s love letter to ballet, Starstruck.
Photo Credit: Scottish Ballet
Lez Brotherston’s design is consistently impressive. Transporting us from the Snow Queen’s chilling ice palace to a bustling winter market and then to the cosy hum of the Travellers’ Camp is no small feat, yet the transitions feel slick and effortless. His striking sets leave ample space for the larger company numbers, and the design is beautifully complemented by Paul Pyant’s atmospheric lighting. Scottish Ballet’s use of projections continues to impress, from the shattered mirror motif to practical snow effects that enhance the tone of the piece perfectly.
Scottish Ballet once again excels in presenting a classic tale with its own flair and edge. Perfect for seasoned ballet-goers, first-timers and younger audiences alike, The Snow Queen is a joyful antidote to the winter slump – and may even inspire you to give a little twirl in the snow with a little extra enthusiasm the next time it falls.
★★★★★
The Snow Queen plays at His Majesty’s Theatre Aberdeen until Saturday 24th January 2026 before heading to Eden Court Theatre, Inverness for the final stop on this tour run.
Find out more here:
https://www.aberdeenperformingarts.com/whats-on/the-snow-queen/
Theatre Scotland 
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