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Bodies in Motion

"Body of Work", "Rhapsody", "Silent Screen"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
Nov. 9, 2024

by Denise Sum
copyright © 2024 by Denise Sum

The National Ballet of Canada returned home looking energized after touring in London and Paris last month. They opened their Toronto season with a mixed program designed to attract classical and contemporary ballet fans alike. No classicist could resist Sir Frederick Ashton’s “Rhapsody”, a dazzling exemplar of bravura technique. Created for the legendary Mikhail Baryshnikov, it remains one of the most stunning (and challenging) ballets in any company’s repertoire. “Rhapsody” was paired with “Silent Screen”, the first work from prolific choreographic duo Sol León and Paul Lightfoot acquired by the NBoC. “Silent Screen” marries film and dance, blurring the lines between them and showcasing León and Lightfoot’s unique contemporary style. Rounding out the program was a solo choreographed and performed by principal dancer Guillaume Côté, “Body of Work”, as part of his farewell season (he will retire in June 2025 at the end of the 2024-2025 season). 

Guillaume Côté in "Body of Work". Photo by Bruce Zinger. 

The Power of Love

“Giselle”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
Nov. 20, 2024

by Denise Sum
copyright © 2024 by Denise Sum

The story of “Giselle” hasn’t changed since its premiere in 1841. Today, “Giselle” is all about the performances. There is a reason this romantic era ballet has endured as long as it has. No other work so perfectly embodies romantic values – idealism, emotion, the supernatural and the irrational. The National Ballet of Canada has been performing Sir Peter Wright’s version since 1970. As the saying goes, if it ain’t broke… 

Svetlana Lunkina with Artists of the Ballet in "Giselle". Photo by Aleksandar Antonijevic.

All That Glitters

“Jewels”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
June 15, 2024

by Denise Sum
copyright © 2024 by Denise Sum

It has been 18 years since the National Ballet of Canada performed George Balanchine’s “Jewels”, considered the first abstract three act ballet, in its entirety (they performed “Rubies” as part of a triple bill in 2016). As such, this run introduced a new generation of dancers to this popular work. This run features many exciting (and some less successful) debuts. Indeed, of the ballet’s 9 leading roles, 8 were debuts on opening night. With its varied and complimentary moods and styles, “Jewels” is one of the most satisfying and complete ballet going experiences.

Donald Thom and Tina Pereira in "Emeralds" from "Jewels". Photo by Karolina Kuras. 

A Star is Born

“Don Quixote”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
June 1, 2024

by Denise Sum
copyright © 2024 by Denise Sum

The beloved classic “Don Quixote” has not been seen in Toronto since 2011. At that time, it was the Petipa/Gorsky/Beriozoff version, which was fun but perhaps in need of a refresh. Prior to that, in 2007, the company performed the George Balanchine one act version, which is a different work entirely as it is centred more on the title character and his relationship to his ideal woman or Dulcinea. In securing Carlos Acosta’s production (created in 2022 for Birmingham Royal Ballet), the National Ballet of Canada has the privilege of being the first North American company to perform this updated version – a dazzling showpiece with the ability to capture the interest of balletomanes and new audience members alike. This ballet felt similar to Rudolf Nureyev’s “Sleeping Beauty” which he brought to the NBoC in 1972 – the company was galvanized by the presence of an international star whose production provided a vessel within which the dancers could really grow. In watching the opening night performance of Acosta’s “Don Quixote”, one could really feel the excitement of the dancers collaborating with such a renowned artist. 

Genevieve Penn Nabity with Artists of the Ballet in "Don Quixote". Photo by Karolina Kuras. 

A Trifecta of Premieres

"UtopiVerse", "islands", "Suite en Blanc"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 20, 2024

by Denise Sum
copyright © 2024 by Denise Sum

The National Ballet of Canada’s winter triple bill featured three exciting premieres: a world premiere, a North American premiere and a Canadian premiere. Two of the ballets, “UtopiVerse” and "islands”, were in a contemporary style. In contrast, Serge Lifar’s 1943 showpiece “Suite en Blanc” provided the tutus, pointe shoes and classical bravura that many expect from a NBoC performance. 

Emma Ouellet and Heather Ogden in "islands". Photo by Karolina Kuras. 

Dancing in Wonderland

“Alice’s Adventures in Wonderland”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 6, 2024

by Denise Sum
copyright © 2024 by Denise Sum

Exactly five years after its last run, Christopher Wheeldon’s hugely successful and family friendly “Alice’s Adventures in Wonderland” was brought back to the Toronto stage, scheduled to coincide with March break. The strategy paid off as the run was completely sold out – something that does not generally happen unless the ballet starts with “Swan” and ends with “Lake”. Thirteen years after its world premiere in London by The Royal Ballet, this full length work remains as striking, comical and playful as ever. It still feels very much like a ballet for contemporary sensibilities. “Alice’s Adventures in Wonderland” blends clever wit and impressive special effects while maintaining a fast pace to cater to short attention spans. It is not surprising that it is now performed around the world, most recently by the Australian Ballet and the Bavarian State Ballet. 

Artists of the Ballet in "Alice's Adventures in Wonderland". Photo by Karolina Kuras. 

Tables are Turned

“Onegin”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 22, 2023  

by Denise Sum
copyright © 2023 by Denise Sum

John Cranko’s “Onegin” is a touchstone for the National Ballet of Canada, performed consistently since its company premiere in 1984. It is a well-rounded production with Pushkin’s engaging storytelling, Cranko's interesting and challenging choreography and an evocative arrangement of musical works by Tchaikovsky. It has all the elements for a timeless full length ballet that is both accessible to the casual ballet goer and rewarding for the balletomane. The NBoC last performed “Onegin” in 2016, so it was due to be brought back to the stage, this time with some exciting debuts. 

Jurgita Dronina and Guillaume Côté in "Onegin". Photo by Karolina Kuras. 

An anti-heroine

“Emma Bovary”, “Passion”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 15, 2023  

by Denise Sum
copyright © 2023 by Denise Sum

The National Ballet of Canada’s 2023-2024 season opener featured two distinctly different, yet complimentary works. First was James Kudelka’s “Passion”, a plotless ballet that nonetheless depicts different types of relationships and romantic love. Second was the world premiere of “Emma Bovary” - a modern take on Gustave Flaubert’s seminal 1856 novel “Madame Bovary” choreographed by Helen Pickett. Both ballets contrast the formality and rigidity of culturally sanctioned relationships versus the exhilarating freedom (and risks) of relationships that fall outside those norms. 

Artists of the Ballet in "Emma Bovary". Photo by Karolina Kuras. 

All Are Punished

"Romeo and Juliet"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
June 15, 2023  

by Denise Sum
copyright © 2023 by Denise Sum

The last time Toronto audiences saw Alexei Ratmansky’s “Romeo and Juliet” was in March 2020. Just two days into the run, theatres in Toronto (and around the world) shut down when the pandemic hit. As the National Ballet of Canada gradually resumed live performances, the return to Ratmansky’s production marked a full circle moment. Dancers who have been preparing for “Romeo and Juliet” could at long last perform this dramatic ballet. The opening night cast featured a strong ensemble with great depth from the corps de ballet to the soloist and principal roles. 

Ben Rudisin and Heather Ogden in "Romeo and Juliet". Photo by Karolina Kuras. 

Universal Language

"Frame by Frame"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
June 2, 2023  

by Denise Sum
copyright © 2023 by Denise Sum

It is rare that a new work shows us something we truly have never seen before. When "Frame by Frame" premiered in 2018, it did just that. An ambitious, multidisciplinary collaboration between choreographer Guillaume Côté and famed Quebecois multi-hyphenate Robert Lepage, "Frame by Frame" is a homage to the life and work of Scottish Canadian animator Norman McLaren (1914-1987). In addition to artists of the National Ballet of Canada, LePage’s multidisciplinary production company, Ex Machina, also formed a large part of the creative team. The Quebec City based company brought expertise from working in film, theater, opera and even circus arts. Most importantly, the National Film Board (where McLaren founded an animation studio) was on board with the project, allowing several of McLaren’s works to be presented on screen as part of the ballet. “Frame by Frame” was a strong, original work when it was presented in 2018. Five years later, it has undergone some significant edits that have made it even more cohesive and worth viewing. 

Artists of the Ballet in "Frame by Frame". Photo by Karolina Kuras. Courtesy of the National Ballet of Canada. 

Stars of tomorrow

The International Competition for the Erik Bruhn Prize
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 25, 2023

by Denise Sum
Copyright © by Denise Sum 2023

The Erik Bruhn Prize is a beloved event for Toronto balletomanes. Established by Bruhn, former National Ballet of Canada artistic director and dance legend, the competition brings together young talents from international ballet companies with which Bruhn had relationships. Participants must be between the ages 18-23. It is a rare chance to see emerging artists from other companies who are selected by their artistic directors for their talent and potential. By participating, the dancers are given the opportunity to prepare a classical pas de deux, as well as have a newly commissioned work created for them. 

Roman Novitzky, Mackenzie Brown and Daichi Ikarashi. Photo by Karolina Kuras. Courtesy of the National Ballet of Canada.