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A wish your heart makes

"Cinderella"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 10, 2023  

by Denise Sum
copyright © 2023 by Denise Sum

James Kudelka’s “Cinderella” has been a perennial favorite at the National Ballet of Canada since its premiere in 2004. With its broad appeal, “Cinderella” was programmed over March break to draw in families and hopefully gain some new audience members for the company. Kudelka’s modern take on the familiar fairy tale has something for everyone – humor, romance, intricate choreography, stunning designs and high production value. The last time “Cinderella” was performed by the NBoC was in 2016. This most recent run features several noteworthy debuts. 

Genevieve Penn Nabity in “Cinderella”. Photo by Karolina Kuras. Courtesy of the National Ballet of Canada. 

Identity and Archetypes

"Symphony in C", "Alleged Dances", "Anima Animus"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 3, 2023  

by Denise Sum
copyright © 2023 by Denise Sum

The National Ballet of Canada artistic director Hope Muir continues to enrich the company’s repertoire with another interesting mixed program, featuring two new works (a world premiere and a company premiere). As with last year’s fall mixed program which featured ballets by black choreographers Alonzo King and Vaness G.R. Montoya, Muir continues to show a commitment to creating space for representation of BIPOC and women choreographers at the NBoC. Here, she has commissioned a new work, “Alleged Dances” by Rena Butler, whom she collaborated with previously at Charlotte Ballet. Muir also brought British choreographer David Dawson’s striking “Anima Animus” to Toronto audiences for the first time. Throwing in George Balanchine’s brilliant “Symphony in C”, this triple bill highlights the company’s tremendous range. 

Genevieve Penn Nabity and Ben Rudisin in “Anima Animus”. Photo by Bruce Zinger. Courtesy of The National Ballet of Canada.

Mad World

"MADDADDAM"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 30, 2022 

by Denise Sum
copyright © 2022 by Denise Sum

Wayne McGregor's "MADDADDAM", a new work inspired by Margaret Atwood's prescient MaddAddam trilogy (published between 2003 and 2013), has been many years in the making. In an alarming example of life imitating art, the premiere of this dystopian ballet set during a global pandemic was delayed by an actual global pandemic. Of her frightening work of speculative fiction, Atwood has written "it does not include any technologies or biobeings that do not already exist, are not under construction, or are not possible in theory." Lest audience members get too comfortable distancing themselves from the horrific hypothetical scenarios of "MADDADDAM", the message that they could occur in the near future is sobering. It is heavy and dark content, hardly an obvious choice for a classical ballet company. Then again, McGregor has shown with "Woolf Works" that he is not one to shy away from complex, literary material. A large scale, big budget work, "MADDADDAM" brings together many repeat collaborators of McGregor in this joint production between the National Ballet of Canada and the Royal Ballet. It features an original score by Max Richter, design by We Not I and film design by Ravi Deepres. British designer Gareth Pugh created brilliantly imaginative costumes. Atwood is listed as "creative consultant", but has said in interviews that she gave McGregor and his team carte blanche in reimagining her books for the stage. 

Artists of the Ballet in Wayne McGregor's "MADDADDAM". Photo © Karolina Kuras. 

In with the new

"The Collective Agreement", "Crepuscular", "Concerto"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 9, 2022 

by Denise Sum
copyright © 2022 by Denise Sum

The National Ballet of Canada's 2022-2023 season opened with a mixed program ushering in the new. Toronto-born Hope Muir started her appointment as artistic director of the company in January 2022, marking a new era after Karen Kain's 16 year tenure in the role. This repertory program is the first Muir has put together for the NBoC. Muir has expressed a commitment to foster more diversity in the company and its programming, which could be seen here. It featured a new work created by Vanesa G.R. Montoya, principal dancer at Les Grands Ballets Canadiens de Montréal, which premiered in the summer of 2021 during the company's outdoor performances at the Harbourfront Centre. It also included Alonzo King's "The Collective Agreement", the NBoC's first acquisition from King and the first time this work has been performed in Canada. The program concluded with a revival of Sir Kenneth MacMillan's "Concerto", last performed by the company in 1990. 

Jurgita Dronina and Harrison James in "The Collective Agreement". Photo by Karolina Kuras. 

Woman Power

"Swan Lake"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
June 10, 2022 

by Denise Sum
copyright © 2022 by Denise Sum

Karen Kain’s “Swan Lake” has been a long time coming. Originally scheduled to premiere in June 2020, the new production was pushed back two years due to the pandemic. It marks the end of Kain’s long career as artistic director of the National Ballet of Canada, from 2005 to 2021. This “Swan Lake” is a collaborative effort. Kain is not a choreographer and while the production is directed and staged by her, she also relies on Associate Artistic Director Christopher Stowell and Choreographic Associate Robert Binet for choreography, which is listed in the program as “after Erik Bruhn, after Lev Ivanov and Marius Petipa”. Sometimes this version suffers from too many cooks in the kitchen and can feel a bit scattered. Nonetheless, it is truer to the heart of the love story and more dynamic than James Kudelka’s bleak and dreary version that the company has been performing since 1999. As such, it feels like a breath of fresh air and will be part of Kain’s legacy with the NBoC. 

Jurgita Dronina and Harrison James in "Swan Lake". Photo by Karolina Kuras. 

A golden classic

"The Sleeping Beauty"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 17, 2022 

by Denise Sum
copyright © 2022 by Denise Sum

Rudolf Nureyev's The Sleeping Beauty is a signature ballet for the National Ballet of Canada. A lavish production with challenging choreography for the whole company, it has been used to mark many special occasions. It opened the inaugural season at the company's current home, the Four Seasons Centre for the Performing Arts, in 2006. This ballet was also a highlight of the company's 60th anniversary.  The last time they performed The Sleeping Beauty in Toronto was in 2018, marking Marius Petipa's 200th birthday. This year, the production turns 50. The NBoC has come a long way since its premiere and Nureyev's production, a huge investment at the time, has paid off and then some. It continues to be a touchstone for company dancers. 

Harrison James and Heather Ogden in "The Sleeping Beauty". Photo by Teresa Wood.

 

Uplifted and Grounded

"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. 

It's Only a Paper Moon

"A Streetcar Named Desire"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 2, 2022 

by Denise Sum
copyright © 2022 by Denise Sum

The National Ballet of Canada is back with full capacity performances at last. The pandemic delayed many retirements and planned farewell performances for dancers around the world. Thankfully, principal dancer Sonia Rodriguez was able to hold out and close a remarkable 32 years in the company with a run as Blanche DuBois in "A Streetcar Named Desire." It is the kind of meaty dramatic role that highlights a mature dancer's range. John Neumeier's production is a flawed one, but Rodriguez and the large supporting cast gave a committed and emotional performance. 

Sonia Rodriguez in "A Streetcar Named Desire". Photo by Johan Persson. 

At Long Last

"Serenade", "Angels' Atlas"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 11, 2021

by Denise Sum
copyright © 2021 by Denise Sum

Having endured one of the longest lockdowns in the world, the pent up desire for connection and live performance in Toronto has been palpable. The National Ballet of Canada’s triumphant return to the stage after 20 months was cause for joyous celebration, an opening night like no other. The evening consisted of two great ensemble pieces: George Balanchine’s “Serenade” and Crystal Pite’s “Angels’ Atlas”. In lieu of an intermission, a 10 minute video interlude allowed the dancers just enough time for a quick change. The video was filmed during the pandemic for the NBoC’s virtual 2020-2021 season, featuring “Soul” by Toronto-based indigenous choreographer, Jera Wolfe. 

Star-Crossed

"Romeo and Juliet"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 11, 2020

by Denise Sum
copyright © 2020 by Denise Sum

Before Toronto (and much of the world) went on lockdown, the National Ballet of Canada gave a spirited performance of Alexei Ratmansky's "Romeo and Juliet". The original cast from the world premiere in 2011, Guillaume Côté and Elena Lobsanova, shone as the passionate yet doomed lovers. They were supported by a strong supporting ensemble, as well as by Ratmansky's evocative storytelling and energetic choreography. Two days after opening night, the remainder of the run was cancelled due to COVID-19. 

Elena Lobsanova and Guillaume Côté in "Romeo and Juliet". Photo by Bruce Zinger.

Angels and Mortals

"Chroma", "Marguerite and Armand", "Angels' Atlas"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
February 29, 2020

by Denise Sum
copyright © 2020 by Denise Sum

The National Ballet of Canada's winter mixed program was a strong one, highlighted by the world premiere of Crystal Pite's captivating "Angels' Atlas", her second ballet commissioned by the NBoC. She created the powerful "Emergence" for the company in 2009 and "Angels' Atlas" follows in a similar stylistic vein while still feeling fresh. This program also marks the retirement of veteran principal dancer Greta Hodgkinson after an impressive 30 years in the company. She chose Sir Frederick Ashton's dance drama "Marguerite and Armand" for her swan song. Rounding out the program was a revival of Wayne McGregor's crowd-pleasing "Chroma". 

Artists of the Ballet in "Angels' Atlas". Photo by Karolina Kuras.