The Producers’ Circle Sandra Faire, Founding Chair
2019/20 Impact Report
Contents A Message from Karen Kain
A Message from 2
Looking Forward to MADDADDAM & Victoria 3 The Impact of Your Support in 2019/20 5 2019/20 New Productions
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Audience, Artistic and Critical Acclaim: The Impact of New Productions
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Remembering Longtime Friends in Our Circle
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The Producers' Circle Gail & Mark Appel
Karen Kain Thank you for sharing in my passion for new productions, their power to inspire and their ability to galvanize the company and open the door to international touring and collaborations with top dancers, choreographers and creators worldwide. With your help, we are building a beautiful and exciting repertoire of works by a diverse group of choreographers that show this company and our country at its best. Together we are supporting the continued creation of awe-inspiring art to delight and inspire present and future audiences. Our ability to grow – and to create a vibrant future – depends on our willingness to take thoughtful creative risks today. Your participation in The Producers’ Circle has given me the freedom to pursue fascinating projects as they arise from a place of present security and confidence. Thanks to your support, even during this challenging time, The Producers’ Circle is giving The National Ballet of Canada the opportunity to shine and maintain its reputation as a leader in the dance world.
John & Claudine Bailey Inger Bartlett & Marshal Stearns Laura Dinner & Richard Rooney Gail Drummond & Bob Dorrance The Thor E. and Nicole Eaton Family Charitable Foundation
Karen Kain, C.C. Artistic Director
Sandra Faire & Ivan Fecan Kevin & Roger Garland, C.M. Ira Gluskin & Maxine Granovsky Gluskin The William & Nona Heaslip Foundation Anna McCowan Johnson & Donald K. Johnson, O.C. Judy Korthals & Peter Irwin Mona & Harvey Levenstein Jerry & Joan Lozinski The Honourable Margaret Norrie McCain, C.C., Julie Medland Sandra Pitblado & Jim Pitblado, C.M. The Harry and Lillian Seymour Family Foundation Gerald Sheff & Shanitha Kachan The Jack Weinbaum Family Foundation 2
Karen Kain. Photo by Karolina Kuras.
Looking Forward to MADDADDAM & Victoria The company is continuing to invest in the previously announced commissions of Wayne McGregor’s MADDADDAM and Cathy Marston’s Victoria in order to bring them to the Four Seasons Centre stage. Thank you for being a part of The National Ballet of Canada’s development of these lustrous productions of fresh story ballets with our international collaborators. These productions will truly elevate the company’s standing on the world stage as a hub of unparalleled excellence and excitement in ballet. We look forward to opportunities to share the process of bringing these productions to life. MADDADDAM is a collaboration of international significance, with Wayne McGregor, the multi-award-winning choreographer of Chroma and Genus, joining forces with one of the world’s greatest living writers, Margaret Atwood, to create a brand new full-length work, a co-production with The National Ballet of Canada and The Royal Ballet in London. This new work is based on the MADDADDAM trilogy of books by Atwood which includes, Oryx and Crake, The Year of the Flood and MADDADDAM. To translate the books to the stage, McGregor has reassembled the creative team behind his landmark 2015 ballet Woolf Works, inspired by the work of Virginia Woolf, including influential composer Max Richter, who recently created the soundtrack for the 2019 film Ad Astra. Also joining him again are lighting designer Lucy Carter, design firm We Not I, film artist Ravi Deepres and dramaturg Uzma Hameed. As the basis of the production, Wayne McGregor is drawing on the themes of genetic manipulation, historical conceptualizations of the future of humanity and the push and pull between Canada’s urban and rural environments. McGregor and his design team have been inspired by the geometry of the city of Toronto, as well as exaggerated symbols of genetic reproduction such as the giant egg-like shapes and domes of Canada’s Expo ‘67 Man and His World exhibits. Margaret Atwood. Photo by George Whiteside. Wayne McGregor. Photo by Johan Hallberg-Campbell.
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Consulting closely with the UK design team, The National Ballet of Canada’s Production staff have been employing their ingenuity to create the world of MADDADDAM as conceived by McGregor. The scenic design mirrors the trilogy in that there will be three very separate major designs for the stage that will require very specific stage rigging, which is unlike other productions. The specificity of the Toronto cityscape and the natural landscape will be brought to the stage through otherworldly large-scale three-dimensional sculpture and video design. Graphic and satellite maps of the city of Toronto as well as video documentation of Ontario’s natural environment are being used as the basis for these visualizations. The concept is for set pieces to be designed to morph between the representational and the abstract through lighting, movement and video projections. The production and design teams are working to engineer giant set pieces that move in unexpected ways, revealing layers of the story, as well as geometric pieces that can be manipulated by the dancers. The manipulation of elements of such a large scale will require thoughtful coordination and collaborative time between the choreographer, production team, designers and dancers in order to realize this fantastical ballet.
Cathy Marston’s Victoria turns the spotlight on a towering figure from Britain’s monarchical past, Queen Victoria, with fresh choreographic language from a rising star in contemporary narrative ballet. A gifted storyteller with a passion for literature, Marston has created more than 50 dance works steeped in history, biography and other narrative forms, many of them focused on strong female characters. Victoria, a co-production with Northern Ballet, drew praise at its 2019 world premiere in Leeds and on tour across the United Kingdom including performances at Sadler’s Wells Theatre in London. When the National Ballet performs Victoria, it will be the first time the ballet is performed in North America. Marston co-wrote the scenario for Victoria with Uzma Hameed, an accomplished writer, director and dramaturg for theatre and dance. Victoria features a soaring set design from Steffen Aarfing and an original, commissioned score from composer and pianist Philip Feeney. 4
Abigail Prudames and Joseph Taylor of Northern Ballet in Victoria. Photo by Guy Farrow. Abigail Prudames of Northern Ballet with Artists of the Ballet in Victoria. Abigail Prudames and Pippa Moore of Northern Ballet in Victoria. Photos by Guy Farrow and Emma Kauldhar.
The Impact of Your Support in 2019/20 The 2019/20 season brought continued success for The National Ballet of Canada both artistically and at the box office, with several important premieres and international touring occurring alongside beautiful presentations of cherished classics. Thanks to your generosity, the company shone in two world premieres by renowned Canadian choreographers: Robert Binet’s Orpheus Alive and Crystal Pite’s Angels’ Atlas. These bold new productions were lauded by reviewers and audiences. They showcased exciting collaborations with celebrated contemporary artists. Grammy-nominated composer Missy Mazzoli composed an original score for Robert Binet’s Orpheus Alive, her first ever for ballet. Crystal Pite’s multi-sensory collaboration with composer Owen Belton and visual designers Jay Gower Taylor and Tom Visser for Angels’ Atlas drew wonder and praise from the artistic community. The National Ballet’s commission of Angels’ Atlas led the dance division in the 2020 Dora Mavor Moore Awards, with Crystal winning Outstanding Original Choreography and Jay Gower Taylor winning Outstanding Achievement in Scenic Design. The production was also nominated for Outstanding Production, Outstanding Performance by an Ensemble, and Outstanding Original Sound Composition. Robert Binet’s Orpheus Alive received a 2020 Dora Mavor Moore nomination for Outstanding Achievement in Design for designer Hyemi Shin. Greta Hodgkinson also received a Dora nomination for Outstanding Performance by an Individual for her performances in Marguerite and Armand, a rarely performed ballet and a special acquisition for her farewell performances. The triple-bill of Angels’ Atlas with Chroma & Marguerite and Armand exceeded box office projections and saw the biggest attendance for a mixed programme in 13 years with 14,532 in attendance. Due to its popularity and profound relevance to our time, Angels’ Atlas is currently slated to be performed during the National Ballet’s 2021/22 season.
Artists of the Ballet in Angels’ Atlas. Photo by Karolina Kuras.
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In January of 2020 the dancers experienced triumph on the world stage as the company toured to the John F. Kennedy Center for the Performing Arts in Washington D.C. to perform Rudolf Nureyev’s The Sleeping Beauty and a triple bill of works by William Forsythe, Jiří Kylián and Alexei Ratmansky. Both programmes were met with critical acclaim and standing ovations. In its review of the company’s performances, The Washington Post stated, “This is a company with talent to burn, where technique is first-rate and form is polished. And on top of that, the physical strengths do not come at the expense of charm and appeal. That’s a tough package to deliver.” Although the run of Romeo and Juliet at the Four Seasons Centre was cut short due to COVID-19, in the performances that were given, Alexei Ratmansky’s production of the classic romance once again delighted audiences and gave our dancers the opportunity to connect with audiences in a number of technically and artistically challenging roles. Anticipation and excitement are building for the world premiere of Swan Lake, directed and staged by Karen Kain. Although we will have to wait until the 2021/22 season for the opening, the ballet promises to be a landmark production and a gorgeous achievement marking the end of Karen’s stellar career at the National Ballet. None of these achievements at home or on the international stage would be possible without the strategic pursuit of new productions supported by The Producers’ Circle. You have contributed $1.1 million in the past year alone, providing an essential foundation for the company’s creative growth. In addition, eight members stepped forward this season to provide underwriting support for Orpheus Alive, Angels’ Atlas and Swan Lake, for an additional $1.25 million in funding for new work. Finally, we would like to extend special thanks to members Ira Gluskin and Maxine Granovsky Gluskin, who stepped in at a crucial moment to provide much-needed funding for Angels’ Atlas, just weeks before the ballet had its premiere. Thank you all for your leadership in bringing this spectacular production to life. We are truly humbled by the extraordinary and steadfast generosity shown by the entire Producers’ Circle. Your partnership has been essential to our ability to present a deeply impactful season in the face of unprecedented challenges. Thank you for your investment in the National Ballet’s vision for artistic excellence, creativity and community.
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Sonia Rodriguez and Spencer Hack with Artists of the Ballet in Orpheus Alive. Photo by Karolina Kuras.
2019/20 NEW PRODUCTIONS
Orpheus Alive November 15 – 21, 2019 6 Performances Total Attendance: 7,882
“I’m lucky to have spent so much time with the dancers of The National Ballet of Canada. They come into the studio as full collaborators and bring their experiences and their histories and their personalities to the movement and they bring the characters into focus for me. It’s a matter of creating an experience for both the audience and performers that is thrilling on a visceral and emotional level.” – Choreographer Robert Binet
Angels’ Atlas February 29 – March 7, 2020 8 performances Total attendance: 14,528
“Dancing in Angels’ Atlas was one of those extremely transformative moments. I fear that if I try to explain how incredibly personal that experience was for me, it would diminish just how grateful I feel to have been a part of such an original piece of art created by the choreographic genius that is Crystal Pite.” – Second Soloist Hannah Galway
Jenna Savella and Spencer Hack in Orpheus Alive. Hannah Galway and Siphesihle November in Angels’ Atlas. Photos by Karolina Kuras.
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2019/20 NEW PRODUCTIONS
Swan Lake To premiere: 2021/22
Although the world premiere of Swan Lake has been postponed to the 2021/22 season, tremendous headway was achieved with the production during the 2019/20 season. In July and August of 2019, the full company participated in a three-week workshop to support the creation of Swan Lake. The dancers worked with Karen, Choreographic Associate Robert Binet and Associate Artistic Director Christopher Stowell to explore the multiple choreographic voices that are part of the history of Swan Lake and to align this history into a seamless aesthetic in order to realize Karen’s vision for a new production. The workshop format provided the dancers with the opportunity to contribute to the creation of the work in a fresh environment. This valuable period of development gave the artistic team the chance to work with the entire company and to use the specific artistic qualities and personalities of the dancers in the studio to create what will become a staple of the company’s repertoire and one of the National Ballet’s most important productions. The process of bringing to life the visionary set, props and costumes of designer Gabriela Týlešová is well underway. Additional staff were hired in Production and Wardrobe at the beginning of 2019/20 to aid with the gargantuan task of creating more than 200 costumes as well as realizing the sets for several distinct scenes in the ballet set at Prince Siegfried’s palace grounds. The company is making use of additional production facilities at the Canadian Opera Company to support the creation of the inventive set designs as well as engaging a prop builder in Stratford to build the additional set decorations that this major production will require. All of the artists involved cannot wait to bring this new vision to the stage.
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Artist of the Ballet. Set design for Swan Lake in production. Karen Kain and Set and Costume Designer Gabriela Týlešová. Photos by Karolina Kuras.
Audience, Artistic and Critical Acclaim: The Impact of New Productions “This is a take on the story that reflects real life, which is incredibly refreshing.” – Broadway World review of Orpheus Alive
“What a spectacular performance! I loved every moment of Orpheus Alive.” – Sophie @sophie.dm_ via Instagram
“Binet’s vision was presented in a completely original concept with refreshing authenticity.” – Calgary Herald review of Orpheus Alive
“Being on stage I could feel the pulse of energy that Crystal wanted us to experience as well as the live exchange of energy between all of us as artists and the audience. I’m so thrilled that The National Ballet of Canada will be bringing back Angels’ Atlas next season.” – First Soloist Siphesihle November on Angels’ Atlas
“It’s going to have a really important place in our repertoire. It’s really a masterwork and there’s something a little bit prophetic about its themes and its impact on the audiences and on the dancers.” – Associate Artistic Director Christopher Stowell on Angels’ Atlas
“Pite has created another masterpiece.” – Paula Citron review of Angels’ Atlas
Jenna Savella with Artists of the Ballet in Orpheus Alive. Photo by Karolina Kuras.
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“Human yearning is evoked powerfully onstage... Crystal Pite has a gift for bringing out the very best in dancers.” – Toronto Star review of Angels’ Atlas
“Breathtaking. Emotionally riveting.” – Marian Wihak @marianwihak on Angels’ Atlas via Instagram
“Angels’ Atlas is a true masterpiece. Crystal has created a work that not only mesmerized audience members but was also a truly inspirational experience for the dancers and all of us at The National Ballet of Canada. With her distinct choreographic voice, she created a hauntingly beautiful ballet that explores the power of human connection and the ephemerality of existence, which has particular resonance during the times we are now living in.” – Karen Kain on Angels’ Atlas
“Mind fully blown after last night’s performance! Huge congrats to the whole company. I am still not sure if I took a breath after the first movement.” – Caroline Shaheed @cshaheed on Angels’ Atlas via Instagram
“I cannot wait to see this with my daughter and to celebrate Karen Kain!!!” – Heather Grant @hpg78 on Swan Lake directed and staged by Karen Kain via Instagram
“I can’t wait to see it! I must have seen every version of Swan Lake that NBC has performed. Many with Karen herself.” – Marie Algieri-Goldgrub @mariealgierigoldgrub via Instagram
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Artists of the Ballet in Angels’ Atlas. Photo by Karolina Kuras.
Remembering Longtime Friends in Our Circle The National Ballet of Canada mourns the passing of dear friends and Producers’ Circle members, Anna McCowan Johnson and Arthur Scace. Their passion and presence will be greatly missed.
Anna McCowan Johnson Anna McCowan Johnson’s passion for ballet and dedication to teaching were inspirational. During her long career as a dance educator, including as founder and Artistic Director of Interplay School of Dance, she influenced many lives and introduced generations of young people to the joy of dance, both as participants and budding audience members. Anna was always proud to see how lives were touched and enriched through the joy of dance. Anna was a dear friend to The National Ballet of Canada as well as to our artists. An active member of our audience, an advocate for ballet and an exemplar of the philanthropic spirit, Anna and her husband Don Johnson made leadership gifts to the Bold Steps Campaign in 1994 and the Soaring Campaign in 2016. They also joined the Dancers First sponsorship programme in 2016, building on their strong connection with Principal Dancer Svetlana Lunkina. In 2016, Don set up The Anna McCowan Johnson Dance Accessibility Fund within The National Ballet of Canada, Endowment Foundation to honour Anna’s lifetime commitment to dance. The named fund supports existing and new strategic community engagement initiatives that give young people a chance to engage meaningfully with the National Ballet. The National Ballet will greatly miss Anna’s presence at performances, her commitment to our artists, and her far-reaching impact on learning institutions, performance companies and dance theatres in Canada.
Arthur Scace, C.M., Q.C. An inspirational philanthropist, Arthur Scace was a close friend to The National Ballet of Canada. Together with his wife Susan, Arthur provided decades of influential support to the company through the Patrons’ Council and The Producers’ Circle, including a leadership gift to Karen Kain’s forthcoming Swan Lake. Arthur was a member of the Campaign Cabinet of the Canadian Opera House Corporation that raised the funds to build the Four Seasons Centre for the Performing Arts, a project he and Susan supported independently through the National Ballet’s Next Steps campaign. Arthur and Susan were also dedicated to the wellbeing of the dancers and gave generously to the Endowment Foundation. He will be deeply missed.
Donald K. Johnson, O.C. and Anna McCowan Johnson. Photo by Karolina Kuras. Arthur Scace.
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Contact Marielle Bryck Manager, Major Gifts T: 416 345 9686 x385 E: mbryck@national.ballet.ca The National Ballet of Canada 470 Queens Quay West Toronto, Ontario M5V 3K4 national.ballet.ca
The National Ballet of Canada is a registered charity. Charitable Business Number: 11905 1449 RR0001 The National Ballet of Canada, Endowment Foundation is a registered charity. Charitable Business Number: 88989 8722 RR0001 Karen Kain and Swan Lake Set and Costume Designer Gabriela Týlešová. Front: Hannah Galway in Angels’ Atlas. Photos by Karolina Kuras. 12
