"Skyward", "After the Rain", "On Solid Ground", "Elite Syncopations"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 9, 2022
by Denise Sum
copyright © 2022 by Denise Sum
The National Ballet of Canada's winter season started with a farewell run of "A Streetcar Named Desire" for company veteran Sonia Rodriguez. The farewells continued with a mixed program to celebrate Jillian Vanstone's retirement after 22 years. The NBoC acquired Christopher Wheeldon's stunning "After the Rain" for the occasion -- an intimate and emotional choice. Vanstone paired it with Sir Kenneth MacMillan's jaunty "Elite Syncopations" where she could let loose and have fun, surrounded by an ensemble of many of her longtime colleagues. The quadruple bill also includes two new works by emerging talents, choreographic associate Alysa Pires and principal dancer Siphesihle November.
Harrison James and Jillian Vanstone in "Elite Syncopations". Photo by Karolina Kuras.
Pires' new work, "Skyward", opened the program. Pires has created works for the NBoC's choreographic workshops, galas and Erik Bruhn Prize but "Skyward" is her first commission for the company's main stage. Created during the pandemic and the third trimester of Pires' pregnancy, it is a work that suggests anticipation and hope. There is a sense of being on the brink of change and transformation on a personal and more global level. The ballet features 11 dancers and is divided in two. For the first part, there is a plain black backdrop. Midway through, the dancing stops and the backdrop lifts to let light shine in. A little on the nose, maybe, but it works in its simplicity. The title, undulating port de bras, and feathery costumes reference birds taking flight. Pires' seems like a dancer's choreographer. She knows how to make dancers looks good. Her steps use a full and natural range of motion, particularly in the upper body, in a way that looks like it feels good too. There are no awkward angles or transitions - everything is very pretty. The music features pieces created for Eighth Blackbird ensemble by four different composers, Nico Muhly, Robert Honstein, Bryce Dessner and David Lang. Sometimes the movements are intentionally unmatched from the music, which makes the finale with all the dancers moving on the beat more powerful. Brendan Saye and Heather Ogden were standouts in this performance. Saye's dignified posture and long, outstretched limbs conveyed resilience and striving. Ogden's presence was so commanding, there was a moment when it felt like the music slowed down in response to her instead of the other way around.
The other new work, was November's "On Solid Ground". Like Pires, this is his first main stage creation, but you would not know it. His ballet is cohesive, sophisticated and striking, with a clear, assured vision. Everything from the smoky effects, overhanging light installation and spiritual music create a powerful ambiance. It is a plotless work with broad appeal, celebrating the joy and universality of movement. The choreography is grounded, inventive, and natural. Floor work brings the dancers to balance on their shoulders or create a tripod using their heads. There is enough variety to keep things interesting. At times the choreography is seamless and flowing, at other times abrupt and twitching. Some shapes do not seem as if they should work, but they do. The androgynous costumes (feathery pants and leotards with cut-outs) and strong use of repetition in the ensemble are reminiscent of fellow Canadian choreographer Crystal Pite. The cast of 9 dancers somehow feels like more. Svetlana Lunkina and Ben Rudisin shone in their break out moments, but the parts with everyone on stage were the most memorable. November chose an eclectic mix of music including an African hymn sung by Choolwe Muntanga, a sweet lullaby from singer-song writer Msaki, selections from film composer Steve Mazzaro and the haunting "Back to You" by British DJ Benjamin Gordon.
The remainder of the program was an ode to Vanstone, who certainly left her mark on the company in her 22 year career. The company performed the full length version of "After the Rain" which includes the first part for three couples set to Arvo Pärt's "Tabula Rasa". This section is often forgone and the pas de deux presented on its own. The first part is quite dynamic with the dancers in blue/grey ombré leotards creating geometrical shapes. Nevertheless, it is the unadorned and poignant pas de deux that steals the show. It is an iconic pas de deux, perfectly suited to farewell performances - most famously of course Jock Soto's and later Wendy Whelan's. The gentle piano triads and plaintive violin phrases are melancholic but also hint at hope and renewal. Vanstone and Harrison James share a strong connection on stage, their movements delicate, controlled, intertwined and purposeful. He was a steady and intuitive partner, while she let the purity of the choreography speak for itself. Theirs is one of the great partnerships in the company. Also, many of Vanstone's career highlights were in Wheeldon ballets such as "Alice in Wonderland", "A Winter's Tale" and "Carousel", so "After the Rain" seemed especially fitting for the occasion.
Vanstone appeared again in a totally different guise in the colourful and upbeat "Elite Syncopations" that closed the program. Scott Joplin's feel-good ragtime music and MacMillan's playful choreography are pure, unadulterated fun. She was partnered once again by James and they brought the house down with their dazzling technique and cheeky sense of humour. Vanstone is retiring on a high note, at the height of her skills as a dancer and artist.
The NBoC has been performing "Elite Syncopations" since 1978, but this time the program notes includes an article researched by the company's equity partner Theresa Ruth Howard and first soloist Jordana Daumec, recognizing the influence of black culture and history on MacMillan's ballet. This type of contextualization is a welcome addition that arose during the pandemic and makes viewing the ballet a richer experience.
Artists of the Ballet in "On Solid Ground". Photo by Karolina Kuras.
Jillian Vanstone and Harrison James in "After the Rain". Photo by Karolina Kuras.