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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.

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.