Relaxed Performance

The Beauty of Inclusion: The National Ballet’s First Mainstage Relaxed Performance

Spotted in the lobby of the Four Seasons Centre for the Performing Arts: front of house staff trying hard not to touch service dogs as they entered the theatre, very young dancers imitating the poses of the professional dancers on decorative posters, ushers giving enthusiastic descriptions of the look and layout of the auditorium for ticket holders and lots of excited smiles.

This was March 22, 2022, when The National Ballet of Canada welcomed 700 audience members to the Four Seasons Centre for the company’s first mainstage Relaxed Performance. It was a joyful afternoon for individuals and families who may find the traditional ballet-going experience inaccessible or limiting. Relaxed Performances are a way for arts organizations to welcome children and adults who are Neurodiverse, members of the d/Deaf or Hard of Hearing, Vision Impaired and Disability communities and any audience members who may benefit from a more casual ballet experience, including caregivers with young children. “We are one of the first companies in Canada to offer a mainstage Relaxed Performance of a full-scale ballet production, and for this we were simultaneously proud and humbled,” says Lisa Robinson Senior Manager, Education and Community Engagement.

A few elements were provided to create an atmosphere where attendees felt celebrated and cared for, such as Audio Description devices, open seats at the back of the auditorium and a quiet room for guests to relax in if they felt overstimulated. To prepare guests for their visit to the theatre, visual and video guides were created with the help of Relaxed Performance consultant Rachel Marks who advised the National Ballet and Four Seasons Centre staff for this initiative.

Prior to the performance, Lisa greeted audience members from the stage where she was joined by American Sign Language-English Interpreter Marcia Aldophe, to let the audience know that they were free to respond to what they saw in the ballet. Lisa then introduced The Lilac Fairy in her sparkling gown (Principal Character Artist Stephanie Hutchison) to delighted “oohs” that rippled through auditorium. Stephanie performed a brief and animated synopsis of Acts I and II of The Sleeping Beauty and provided hints of what to expect in Act III. She also introduced the audience to Princess Aurora and Prince Florimund (First Soloist Jeannine Haller in her debut as Princess Aurora and Principal Dancer Naoya Ebe), who came out to wave hello.

Act III was unchanged for the Relaxed Performance, however adjustments were made to the environmental elements such as lowered sound levels, dimmed house lights and an invitation to move in and out of the space as needed.

Joy attended the performance with her two sons who are on the Autism spectrum. She said, "To be able to see a ballet in an accessible format where you can move about, make noise and appreciate the ballet in your own way is a magical

experience. Ballet transports you to a fairytale place that you can’t replicate in the cinema or with screens. When the orchestra started to tune their instruments and the curtain came up, I heard my seven year old say ‘wow’ and the hairs on the back of my neck stood up. It’s a feeling you can’t put a value on.”

Sarah, who enjoyed her first post-COVID performance with her 14-year-old son, Landon said, “As a special needs parent I often feel isolated in my community and COVID amplified that. Inclusion is a great word, but it doesn’t always go into practice, and we always feel uncomfortable in certain places. When we can come to performances like this, we feel like we belong.”

For Sylvia, who is blind, it was her first time at the ballet. She is a fan of theatre and dance and was curious about the audio description. “When the audio describer spoke about the Pussycats, I giggled at the same time as my friend did and she’s sighted. That struck me profoundly.”

The National Ballet was elated to welcome attendees to enjoy the full experience of what the company has to offer. “I know that this will send ripples through the dance community and will hopefully inspire other companies to follow their lead in welcoming the d/Deaf and Disability Community to their spaces and performances,” says Rachel Marks. The company is receiving great feedback from attendees and with our learnings this will be the first of many wonderful experiences with the community in the years to come.

The National Ballet of Canada’s Education and Community Engagement programmes are generously supported by the Anna McCowan-Johnson Dance Accessibility Fund at The National Ballet of Canada, Endowment Foundation.

The National Ballet of Canada’s Relaxed Performances and the accompanying Visual Guide are made possible in part through the generous support of The Estate of Helen Allen Stacey, An Anonymous Donor and One Anonymous Lady.