Scottish Ballet return to His Majesty’s Theatre, Aberdeen for a limited three-show run with their love letter to Gene Kelly, Starstruck.
Taking inspiration from Gene Kelly’s only stage ballet, Pas de Dieux, created for the Paris Opera Ballet in 1960 and set to George Gershwin’s Concerto in F, it featured jazz-infused choreography depicting Aphrodite and Eros (Cupid) descending to a beach to seduce humans. Kelly’s multifaceted brilliance as an entertainer has delighted generations of movie lovers, and his pioneering choreography has influenced countless performers and creatives. Scottish Ballet honour his creative legacy with Starstruck.
In collaboration with Gene Kelly’s widow, Patricia Ward Kelly, Scottish Ballet lovingly revived the original ballet in 2021, adding a delightful new twist and wowing audiences and critics alike. Starstruck returns to Scotland this spring with a revisited version of the piece, with Aberdeen marking the third tour stop on this limited run.
In this new two-act production, CEO/Artistic Director Christopher Hampson CBE builds on a love story that mirrors the worlds of gods and mortals, juxtaposing the romantic tensions between a Star Ballerina and a Choreographer with their mythological counterparts, Aphrodite and Zeus. From Olympus to Hollywood and Paris, dancers, screen legends and Greek gods are captivated by love as mythology meets backstage drama.
Having seen the original one-act production in 2021, I was excited, as always, to see how Scottish Ballet have developed this piece further.
Image Credit: Andy Ross, Scottish Ballet
Leading the company of 27 is our Star Ballerina & Aphrodite, Jessica Fyfe, who is simply captivating to watch. She transitions seamlessly between classical ballet and Gene Kelly’s signature jazz style and flair. Fyfe is complemented exceptionally by Bruno Micchiardi as the Choreographer & Zeus. The pair exude chemistry, and it feels as though two bodies move as one when they duet throughout the show. Their mirror sequence at the beginning of Act 2 was particularly captivating. Micchiardi portrays the Choreographer’s emotional progression with clarity, allowing the audience to experience his inner turmoil and the intensity of his connection with the Star Ballerina.
Principal dancer Thomas Edwards returns as Pianist & Eros (Cupid). A far cry and contrast from his previous principal roles – The Ringmaster in The Snow Queen and Walsingham in Mary, Queen of Scots – Edwards delivers a light-hearted performance bursting with charisma, charm and wit from the outset. He excels in complementing those he shares the stage with while maintaining strong characterisation and precision. Edwards is a standout in this production, switching seamlessly between styles and a distinct air of Gene Kelly’s charm about his performance.
Mayu Takata and Yipeng Xu are another pairing who are delightful to watch as the Sweethearts. Their expressive and technically assured performances contribute momentum and energy to the narrative.
Further featured female ensemble/company included: Hannah Cubitt, Alice Kawalek, Melissa Parsons, Elizabeth Williams, Gina Scott, Annabelle McCoy, Antonia Cramb, Mayu Takata, Seira Winning, Claire Tjoe-Fat and Kayla-Maree Tarantolo.
Further featured male ensemble/company included: Alfie McPherson, Mackenzie Jacob, Lewis Formby, Theo Greenfield, Charley Austin, Andrea Azzari, Augustin Cimbault, Hamish Longley, Calum Gray and Harvey Evans.
Original choreography and direction (for Pas de Dieux) by Gene Kelly, alongside additional choreography and scenario by Christopher Hampson CBE, form the beating heart of this production. With artistic collaboration from Patricia Ward Kelly, the passion behind the project shines throughout the performance. This is amplified not only on stage but also through Lez Brotherston’s (OBE) design and lighting by Lawrie McLennan, which combine to create a captivating visual feast. What begins as an empty rehearsal space transforms into the glittering streets of Paris, a stylised beach, and the grand interior of the Paris Opera House. The effective use of projection never feels excessive, while atmospheric smoke and lighting create a dreamlike quality – reminiscent of the iconic ballet sequence in Singin’ in the Rain.
Music by Frédéric Chopin, George Gershwin and Maurice Ravel complements the action on stage, often working in perfect tandem with the choreography – something that can feel rare in ballet. It is always a thrill to hear the full Scottish Ballet Orchestra performing, conducted by Principal Guest Conductor Martin Yates.
While the one-act version of Starstruck offered more concise storytelling, this two-act production allows the narrative room to breathe and deepens the emotional resonance at its core. This is clearly a passion project for Scottish Ballet and Christopher Hampson CBE. With the involvement of Patricia Ward Kelly, the production carries warmth, star quality and consistently strong performances across the company – serving as a fitting tribute to Gene Kelly’s legacy.
A piece like this not only celebrates Kelly’s influence but will undoubtedly inspire future performers, choreographers and dance-makers alike – and that is what makes it feel so special.
Scottish Ballet never fail to impress, continuing to produce a diverse, innovative and experimental body of work that remains inherently classical and refined.
Starstruck runs at His Majesty’s Theatre, Aberdeen with two further performances on Saturday 2nd May 2026 before moving to its final stop in the run, Edinburgh next week.
More information available here: https://scottishballet.co.uk/whats-on/starstruck/
5 stars
Theatre Scotland 
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