Preview A publication for our donors / Issue No. 51 Spring/Summer 2020
A Special Message from Executive Director Barry Hughson Our Way Forward
One of the most profound experiences I’ve had in a theatre occurred this past February, when the curtain rose on Crystal Pite’s remarkable creation, Angels’ Atlas. Our artists danced at the peak of their powers and the work moved me deeply. The physical manifestation of shared humanity – the dancers entwined, apart, holding each other up, catching each other as they fell, was a reminder for me that we need each other on life’s journey – we’re all in this together. That message resonates even more now and in so many ways. Since our season abruptly ended on March 13, we have stayed connected through Town Halls with our artists, staff, Board and donors. We’ve had difficult conversations – everything from the financial realities of COVID-19 on our company and our lives, to the Black Lives Matter movement and anti-Black racism in ballet and in our society. These have been some of the most challenging weeks of my career, but what keeps rising up through every conversation is our belief that anything is possible if we come together with shared purpose and shared hope. Knowing that when we
do return fully to doing what we love, we will be changed for the better – all of us as individuals and collectively as an important cultural institution for Toronto, Canada and the world. If there is a silver lining to COVID-19, it is in the space that has been created to step back, reflect on where we’ve been and where we’d like to go, and to get to know one another better as human beings along the way. The National Ballet of Canada entered this unprecedented global crisis in a position of relative fiscal health – strong FY19 operating results, no debt and a strong, wellstructured endowment. We will emerge from this crisis because of our collective good work leading up to it, and our calm, thoughtful and pragmatic work as we navigate through it. Prior to the pandemic, the National Ballet was firing on all cylinders artistically and financially. On stage, our artists demonstrated their amazing versatility, the exacting classical technique required for ballets like Etudes, Giselle and The Sleeping Beauty, and the extraordinary range required of contemporary works like Petite Mort, Chroma and Angels’ Atlas. Behind the scenes, we were making a difference in the broader dance community, providing rehearsal space and opportunities for independent performers and dance companies through our CreativAction programme, led by Creative Producer and Choreographic Associate Robert Binet. From July 2019 through March 2020, the company welcomed 29 artists and companies to use our studios free of charge and we look forward to welcoming many more when the Walter Carsen Centre reopens. The 2019/20 season also brought arts education and enrichment to thousands of students throughout the GTA and across Canada through
our YOU dance, Share the Magic and Dance About programmes. We continued the second year of our partnership with Cultural Pluralism in the Arts Movement Ontario in developing institution-wide Equity, Diversity and Inclusion plans, completing a study of international efforts by other major ballet institutions, and engaging hundreds of National Ballet stakeholders in focus groups to ensure that many voices are included in this important work. In January, the final session of The Equity Project was held in New York City. This three-year partnership with 21 major ballet companies has focused on increasing the presence of blacks in ballet and was made possible through the efforts of Dance Theatre of Harlem, The International Association of Blacks in Dance and Dance/USA. Today, the National Ballet’s roster of artists and staff is more visibly diverse than at any point in our history, and we are committed to ensuring that every member of our company feels safe, respected and supported, while reflecting the remarkable diversity of the city we call home through our people and our art. Recognizing the remarkable contributions of Karen Kain as an artist and Artistic Director over 50 years has been at the heart of our 2019/20 season, and that celebration will continue, as Karen has agreed to stay on until her successor has been identified. Because of COVID-19, the search for a new Artistic Director will need to be extended and we are grateful that Karen has agreed to see the company through this crisis and help move us into our future. Karen has devoted her life to this company and it has been one of the greatest joys of my career working by her side. Congratulations to every artist,
Barry Hughson. Photo by Karolina Kuras. 2
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staff member, Board member, volunteer and donor who made the 2019/20 season possible. I send my deep appreciation to the senior leadership team and our Board Chair, Cornell Wright – who have collectively provided incredible leadership, not just during COVID-19, but all season long. Karen and I are grateful to have one of the very best teams in the business, behind and in front of the footlights. To our donors, thank you for believing in The National Ballet of Canada. Your support helps to make everything we do possible. I look forward to gathering together in person to celebrate the National Ballet when it is safe to do so. In the meantime, we will continue to gather
virtually and find new ways to share our art. With your continued support, we will move forward together, protecting our exceptional artists and focusing on a future filled with beautiful dance.
A Special Message from Executive Director Barry Hughson
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Celebrating the Dancers
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Equity, Diversity and Inclusion
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Message from the Director of Development
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Corps Q&A : Hannah Galway
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In Conversation: Tomas Schramek & Jillian Vanstone
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Dance About
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Engaging with Youth and Children Online
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In Memoriam & In Brief
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Join Us Virtually
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Acclaim for Angels’ Atlas
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national.ballet.ca
Preview newsletter is published quarterly by The National Ballet of Canada’s Development Department.
Barry Hughson Executive Director
Director of Development: Diana Reitberger, CFRE Publisher: John Hart Preview Editor: Caroline Dickie Contributor: Rhea Daniels Art & Design: Carmen Wagner We would love to hear from you. Please send your comments to: preview@national.ballet.ca
Heather Ogden is sponsored through Dancers First by Ira Gluskin & Maxine Granovsky Gluskin. Selene Guerrero-Trujillo. Photo by Karolina Kuras. Heather Ogden in Lulu. Photo by Lookout. The National Ballet of Canada
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Cover: Antonella Martinelli. Photo by Karolina Kuras. 3
JU N E
Celebrating the Dancers by Karen Kain Thank you to everyone who supports this company and makes it possible for us to delight and inspire audiences by allowing our extraordinary artists to shine. Despite the difficulties we are facing as a country and a company, I find myself believing more strongly than before that the work we do and what we bring to the world is more important than ever. Recognizing the artistry of our dancers is very special to me. I am proud to celebrate the following artists with promotions and awards, and to acknowledge the wonderful contributions of a number of our dancers who are retiring or departing.
Promotions Hannah Galway: promoted to Second Soloist Hannah has demonstrated over and over again that she is an artist of versatility and virtuosity. Her performances in William Forsythe’s The Vertiginous Thrill of Exactitude and Crystal Pite’s Angels’ Atlas, among many others, were exceptional in every way. Spencer Hack: promoted to First Soloist Spencer has been amazing us since he joined the company in 2014. His versatility in many roles, including works by Forsythe, John Neumeier, Robert Binet and also the company’s classical ballets, has been outstanding. Siphesihle November: promoted to First Soloist What can I say about Siphe, except that he is one of the finest artists that I have had the privilege to watch? I think that I can speak for the rest of the company when I say that when the music begins, Siphe becomes one with it. I have so much joy in watching him in all his versatility and magic.
David Tory Award Corps de Ballet member Alexander Skinner is this year’s recipient of The David Tory Award. Alexander was recognized by his peers for his dedication to the company as someone who always approaches his work with positivity and preparedness. He is celebrated for the very qualities that David Tory exhibited himself: professionalism, honesty, compassion, humility, integrity, mentorship, optimism and enthusiasm for life and the art of dance. Siphesihle November is sponsored through Dancers First by Jerry & Joan Lozinski. Hannah Galway is sponsored through Dancers First by Alison & Alan Schwartz. Alexander Skinner is sponsored through Dancers First by Anne & David LeGresley. 4
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Patron Award of Merit Hannah Galway and Isaac Wright are the winners of the 2019/20 Patron Award of Merit. This is the second year in a row that Hannah has received the award. The Patron Award of Merit, funded by the Patrons’ Council Committee, recognizes one female and one male dancer from the Corps de Ballet who have shown incredible progress that season. The dancers receive an award inscribed with their names, generously donated by Myles Mindham, and The Patrons’ Council Committee makes a donation to The National Ballet of Canada, Endowment Foundation to ensure continued support for young artists.
Retirements To honour Principal Dancer Greta Hodgkinson during her retirement season, we acquired Marguerite and Armand by Sir Frederick Ashton. Greta was glorious in the role and was nominated for a Dora Award for her performance. Greta remains with us as she assumes the position of Artist-in-Residence.
to celebrate her 20th anniversary with the company. This is also her retirement year and we will miss her beautiful presence. Tiffany is moving home to Nova Scotia with her husband and two boys. She will be attending Dalhousie University in the fall with the intention to study architecture the following year.
At our Annual General Meeting in the fall of 2019, we celebrated Principal Character Artists Lorna Geddes and Hazaros Surmeyan as they began their final season performing with the National Ballet. The company gifted Lorna a quilt made by Nancy Hawkins from costume fabrics from Lorna’s career and we gifted Hazaros his Prince jacket from the original Erik Bruhn production of Swan Lake, which he wore when he partnered me for my very first Swan Lake. We were hoping to honour Lorna onstage, as this was also her 60th anniversary with the company, during a performance of Romeo and Juliet. She is the most wonderful Nurse to Juliet, but unfortunately that performance was cancelled.
Departures
Second Soloist Tiffany Mosher was honoured on stage during a performance of The Nutcracker
We also say goodbye to some departing members of our company. Corps de Ballet member Ethan Watts is leaving to join The Royal Swedish Ballet and Corps de Ballet member Jimmy Coleman is leaving to join the Royal Danish Ballet. Second Soloist Brent Parolin is retiring from dance and will join Ballet am Rhein in Germany as Ballet Master and Coach. Principal Dancer Elena Lobsanova and First Soloist Hannah Fischer are both leaving the company to join Miami City Ballet; I completely understand and support their wanderlust to work in another atmosphere and a company with different repertoire. We wish all of them well.
Hannah Galway. Isaac Wright. Greta Hodgkinson. Opposite, clockwise from top left: Spencer Hack. Siphesihle November. Hannah Galway. Alexander Skinner. Photos by Karolina Kuras. The National Ballet of Canada
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WE ARE LISTENING WE ARE LEARNING WE ARE TAKING ACTION As the world continues to react to anti-Black racism, police brutality and civil unrest in the United States, we are also reflecting on systemic racism in our society in Canada. Arts institutions are being challenged to examine their role in perpetuating systemic racism, and at The National Ballet of Canada, we are having open and honest conversations with our dancers and staff. As a national institution with a global presence, the National Ballet remains committed to building a future that celebrates the extraordinary diversity of Canada’s people and to reflect that beauty in everything we do at home and around the world. We are
committed to examining our artform, acknowledging its history of inequity and our own complicity. Because you are an important stakeholder in the success of the National Ballet, you should know that we are committed to continuing this dialogue and we are committed to change. In 2018, we began our work with Cultural Pluralism in the Arts Movement Ontario (CPAMO) in examining our history, learning from our peers around the world and building an institution-wide plan for Equity, Diversity and Inclusion at the National Ballet. Charles Smith and Kevin Ormsby have been our partners and facilitators throughout
this important process. In recent months, they have been joined by Theresa Ruth Howard, a former ballerina and respected anti-racism activist in the dance world, as we move this work forward. Since late spring, we have convened a dancer-focused AntiRacism Town Hall, followed by another with our full staff. We have also initiated a series of small group meetings, facilitated by First Soloist Jordana Daumec, to create space for dancers to discuss issues and ideas to ensure a safe and respectful work culture. In September, we will begin anti-racism training for all artists and staff.
First Soloist Jordana Daumec participated as a mentor at MobBallet’s first ever dance education symposium entitled “Inspiration, Education, Perspiration” in Philadelphia, PA, October 2019. Photo by MobBallet. 6
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As we move forward, we will: »
Meet regularly with all our Black and Racialized dancers and staff for open and honest conversations
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Meet regularly with the entire company about their concerns and to continue the dialogue
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Work collaboratively with our dancers, musicians, staff, Board of Directors and the wider dance community to shift the organizational culture by raising our racial culture IQ to be more inclusive and respectful
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Continue to provide anti-racism/anti-bias tools and training to the entire organization
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Continue the important work of our internal Equity, Diversity and Inclusion Task Force
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Continue our work, in partnership with our artists and staff, our EDI Task Force and Cultural Pluralism in the Arts Movement Ontario (CPAMO) in developing and implementing a comprehensive, institutionwide plan for Equity, Diversity and Inclusion
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Continue our participation in The Equity Project: Increasing the Presence of Blacks in Ballet. Convened by Dance Theatre of Harlem, The International Association of Blacks in Dance (IABD) and Dance/USA in 2018, the project brings together a cohort of Artistic and Executive leaders from 21 North American large professional ballet organizations with the purpose of increasing the presence of blacks in ballet in all areas of the industry
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Hire a Director of Equity, Diversity and Inclusion to ensure these values are front and centre in every decision we make and that we expand our community engagement
Kevin Ormsby
Charles Smith
Theresa Ruth Howard
To learn more about our partners and facilitators in this work: Charles Smith, Kevin Ormsby, Cultural Pluralism in the Arts Movement Ontario cpamo.org Theresa Ruth Howard, Memoirs of Blacks in Ballet mobballet.org The Equity Project danceusa.org/announcing-equity-project-increasing-presence-blacks-ballet To follow our progress, visit our website for regular updates national.ballet.ca/Meet/Equity-Diversity-and-Inclusion
Jordana Daumec is sponsored through Dancers First by an anonymous donor. Kevin Ormsby. Charles Smith. Theresa Ruth Howard. Photo by Elias Williams. The National Ballet of Canada
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In looking back on our 2019/20 season, it was inconceivable that we would end the year with cancelled performances, the loss of our summer tour to the Royal Opera House in London, delays to our community engagement schedule and the postponement of Karen’s Swan Lake. And now, you have learned that our fall season and beloved production of The Nutcracker have also been cancelled. Such has been the fallout of COVID-19. We hope that you remain safe and healthy as you continue to navigate the significant impact our changed world has had on your own lives. With so much uncertainty, it is heartening to reflect on your steadfast support as a member of our donor family. Many of you have reached out to say that you stand with the company at this difficult time, and we’re grateful to everyone who has donated their tickets for cancelled performances back to the company. Donors continue to support the company in gestures of thoughtfulness and generosity. Our Moving Forward Together Campaign inspired 375 individuals to make an additional or new gift
to the company, resulting in almost $80,000 in donations by June 30. Thank you! We are working to connect with you in every way possible, from personal notes and calls to our various social media platforms and digital donor events until we return to the live performances and events you cherish. I know I speak for every member of the company when I say that we sincerely miss you! Though we must keep our distance physically, in spirit, we are close. Still, the financial implications of the shutdown for an organization that depends on people coming together in theatres and community spaces are stark. In speaking with many of you, I know that your passion and commitment to The National Ballet of Canada will see us through this crisis with renewed purpose so we can continue to offer the best of ballet to audiences we hold so dear. I send all my good wishes to you and your families for the fall season and invite you to stay connected with us as we look ahead to better days. Diana Reitberger, CFRE Director of Development
M AR C H
A Message for Our Valued Donor Family
Corps Q & A: Hannah Galway Born: Comox, British Columbia Trained: Canada’s National Ballet School Joined RBC Apprentice Programme: 2017 Recipient, RBC Emerging Artist Award: 2018 Corps de Ballet member since: 2018 Recipient, Patron Award of Merit: 2019, 2020 Promoted to Second Soloist: 2020
How did you discover dance? My parents enrolled me in dance classes as a hobby after school, but when I started working one on one with a teacher from Nanaimo once a week, I learned more about technique and a whole new world of ballet was unlocked. I realized there was much more to discover beyond even what I was learning. While at Canada’s National Ballet School, I was fortunate to go on exchange to Amsterdam for two weeks and Hamburg for a month. I never realized the scale of what could be accomplished with dance, and I learned so much from different teachers, environments, students and opportunities. Kota Sato is sponsored through Dancers First by Tony Arrell, C.M. & Anne Arrell. Brenna Flaherty and Kota Sato. Photo by Karolina Kuras. 8
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How valuable was your time in the RBC Apprentice Programme? I grew in every possible way in a professional setting. For the first time, I was in charge of myself and given space to figure myself out as an artist and an adult. I was able to find my own voice and that came through in my artistry. In the YOU dance shows, because we have the opportunity to learn and perform leading roles, we could explore and express our individual selves.
I wasn’t expecting how emotional it would be when it all came together. When I lay on the stage with all my colleagues to begin the piece, I could hear the audience buzz, then the curtain come up; there was a rush of air and then silence. I felt covered by a blanket of music and the incredible lighting. It was a very spiritual moment and an unforgettable experience.
What do you appreciate most about dance? Dance brings people together; it’s a visceral experience for both artist and audience member. Dance connects people, it needs to be as accessible as possible. That’s what I liked so much about the YOU dance Residency – we performed for just 50 people in the audience yet it was deeply meaningful. Dance is truly for everybody.
One of my highlights was dancing with Alexander Skinner in the Raymonda pas de deux at the Regent Park Residency community show. It was a small space and most of the audience had never seen professional ballet before, but everything felt right. I shared the amazing and intimate experience with a good friend and with a special audience. Tell us about dancing in two works by William Forsythe during your first year in the Corps de Ballet. He inspired so much energy and positivity in the studio and in the company as a whole. I felt honoured to share the stage with dancers I’ve adored since I was in school. And I was extremely lucky to return to The Vertiginous Thrill of Exactitude twice more and so quickly – at Fall for Dance North and on tour in Washington, D.C. Every time felt different and I could explore every corner of the piece. How was your experience working on Angels’ Atlas? Siphesihle November, Jordana Daumec, Spencer Hack and I went to Vancouver to work with Crystal Pite for a week in December. Crystal taught us six phrases, which she then twisted, slowed down and reversed for the vocabulary of the piece. She was very detailed, even down to the intention behind our fingers. It all came naturally to her but for ballettrained dancers, it was difficult. I didn’t expect the amount of mental stamina that I’d need and the hard work and focus to understand everything she was asking for but it was all very satisfying.
Hannah Galway. Photos by Karolina Kuras.
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RI L AP
In Conversation: Jillian Vanstone and Tomas Schramek Celebrate Milestone Anniversaries Principal Dancer Jillian Vanstone Principal Dancer Jillian Vanstone exudes joy and ease in the face of even the most daunting choreography. Audiences have delighted in her crisp technique and musicality throughout her 20 years with The National Ballet of Canada, whether she is dancing the role of Princess Aurora in The Sleeping Beauty or Alice in Alice’s Adventures in Wonderland, the ballet that led to her promotion to Principal Dancer in 2011. With Francesco Gabriele Frola in Giselle (2016).
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Jillian: In 2003, when former Principal Dancer Martine Lamy was awarded her 20-year pin, I remember thinking it was a long time. But now my 20 years has flown by. What is it like at 50? Tomas: I’m flabbergasted to be 75 years old and still onstage. Could anyone dream of that? I’ve been onstage since I was nine when I started in Bratislava doing supernumerary roles in opera.
Principal Character Artist Tomas Schramek Tomas (Tommy) Schramek has been an integral part of The National Ballet of Canada for 50 years, excelling first as Principal Dancer and, since 1990, as Principal Character Artist. Off stage, he has served as Company Teacher and Assistant Ballet Master (2005 – 2010), investing all of his work with his singular passion and dedication to the art of dance.
Jillian: You received an early education watching how people handle themselves onstage. Tomas: I was extremely fortunate to be on a professional stage. There were ballet classes attached to the opera house and they were free while I was doing the super work. Jillian: I trained in Nanaimo until I was 12. I knew I wanted to dance without having seen a full ballet simply because I liked the way it felt. As I went through classes, I didn’t know what a professional ballet company or school was until I attended a performance of Canada’s Royal Winnipeg Ballet in Vancouver. I saw a flyer about auditions in the house program. Tomas: Your parents very supportive.
have
always
been
Jillian: No one in my family worked in the arts but my parents let me come to Canada’s National Ballet School. They had two friends who hadn’t been allowed to pursue their dreams as kids and had always wondered “what if…?” So my parents let me try. My dad thought it was more like a summer camp at the school but then I was accepted into the full-time programme.
Don Quixote (c. 1988).
Tomas: Was it a shock for your parents to allow their daughter to move across the country? Jillian: They were very generous to let it happen. I thought I was so mature back then but now I look at photos and I see how small I was! Tomas: No one was artistic in my family either. My mother went to high school with a boy who became a famous composer so she asked for his advice on whether or not I should leave high school for dance. A dance company (SLUK) came to our school to look for talent. (...continued) Francesco Gabriele Frola is sponsored through Dancers First by Sherry and Edward Drew. Jillian Vanstone is sponsored through Dancers First by George & Kathy Dembroski. Photos by Anthony Crickmay, Andrew Oxenham and Karolina Kuras. The National Ballet of Canada
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La Fille mal gardée (1976). 11
(continued from previous page) A friend and I skipped class to audition – he was called back for the second round but I wasn’t. I was persistent and determined, though, and the artistic director persuaded the staff to take me, saying “he’ll put on weight.” I was very skinny. Jillian: Sometimes it takes that one person to believe in you. Tomas: My parents had to sign my first contract because I was only 15. I became part of the touring company at 16. We travelled a lot in Europe and did a five-month tour of the US in 1965 as part of the same show with the Harlem Globetrotters. We did 120 shows in 33 states. I also came to Montreal for EXPO in 1967. Jillian: I grew up so much at the school. Working with Rudy van Danzig on Four Last Songs – he was such an influence. He trusted young people with heavy, challenging material and expected us to step up, to find something in ourselves. Tomas: When I left Czechoslovakia in 1968, I was in touch with the National Ballet through the Consulate in Vienna. There were no videos at that time, of course, so Celia Franca said, “It all sounds good but I have to see him.” I came to Canada – and if it weren’t for my brother coming four days later, I wouldn’t have done it. Celia brought Betty Oliphant to look at me. There wasn’t a spot in the company at the time, so I took classes with the company and at the school – I was in Artistic Director Karen Kain’s class. On April 2, 1969, I earned my first contract. Jillian: The National Ballet was in my list of top companies to audition for. When I was offered a spot, I gladly took it. My first performance was in Swan Lake in Saskatoon. I felt lucky to start on tour because the travelling and concentrated time together made me feel a part of the company really quickly.
Apollo (2019).
Tomas: The one thing I wish is that I enjoyed performances more in those days. Mikhail Baryshnikov once said he loved the process, preparation, that performances were a lot of pressure. I felt the same way. Jillian: I love process too! With Harrison James in The Dream (2018).
Tomas: I liked working with John Neumeier on Don Juan [in 1974]. He paired me with Karen and she helped me get stronger. Karen’s forte, as you know, was her ability to perform, to pull everything together when it most counted. Jillian: Francesco Gabriele Frola is like that too. Tomas: What I’ve always admired about you is your preparation. You’re very conscientious to do things outside the studio on your own, for yourself, to get strong Photos by Aleksandar Antonijevic and Karolina Kuras. 12
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and to be ready. One parallel I feel we have is that we’ve both been poised to take advantage of opportunities. Jillian: I did my first full-length because Sonia Rodriguez was pregnant. Then when Christopher Wheeldon came for Alice’s Adventures in Wonderland, it was the right time. My early training was with a teacher who danced with Sadler’s Wells, so I felt I had that English training background so I was suited for Wheeldon’s style. Tomas: In the late 1970s Celia asked me on a Thursday (when Sergiu Stefanski got injured) if I thought I could be ready for the Prince in Swan Lake for Sunday afternoon. I knew the music and the ballet but I had to work my ass off for two days to get ready to go on. I also often replaced Frank Augustyn in various roles when he got injured.
Jillian: One season, I did 14 out of 25 Nutcracker shows with former dancer Keiichi Hirano. I felt like the NBS kids on stage saw the egg open and always thought, “oh, her again?” Tomas: Because of injuries, I ended up doing 11 out of 14 Swan Lakes with four different partners on a western Canadian tour. Jillian: Back then, could you imagine how the company would look now? Tomas: From a technical point of view, yes. With Nureyev coming through and then the inspiration of Baryshnikov, the technique was inching up. There was a tight group of us – Frank, Raymond Smith, later Kevin Pugh – and it was competitive, in a healthy way, to improve. The company is very athletic now, with great training and support. Back then, we didn’t even have a sprung floor. Jillian: It’s now so common for dancers to access physio, massage and cross-training but it’s not that long ago in the dance world that that was either not offered or sometimes actively discouraged. TS: I have such high respect for everybody and what you’re all accomplishing now. Jillian: Founder Celia Franca was smart in the groundwork she established. And I know you had a fondness for Erik Bruhn. Tomas: Celia was very much into discipline – you knew that she expected silence in class and no jewellery or leg warmers. When she brought in Nureyev, there was so much excitement. He was such a personality and that time was extremely inspiring. Erik was fantastic, as a friend and a leader. Jillian: James Kudelka hired me. As a company, we were strong, in good shape and fluent in his work. When Karen brought in new choreographers, it was hard to adjust to the different styles at first but we quickly adjusted.
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Tomas: I feel like Karen’s programming has been so successful. Jillian: And in the last seven years, we’ve toured to bigger dance centres again. Tomas: Bringing in the best current choreographers has made a big difference. And she’s been committed to having the young dancers be seen in New York City, London and Paris. Jillian: My first time in New York, I was performing Alice at opening night at Lincoln Centre! Tomas: That was a lot of pressure, wasn’t it? Jillian: I did a lot of mental preparation building up to it. Tomas: When we first went to The Met in 1973, I did Pussycats in The Sleeping Beauty. 24 Beautys in three weeks! Jillian: I’m sorry that your 50th anniversary celebration night in Romeo and Juliet had to be cancelled. Tomas: I was pleased that my anniversary was to be recognized. I love this company and am very grateful for being part of it for 50 years. Jillian: I had a special celebration night with Giselle in the fall and invited people from NBS and my ballet teacher from Nanaimo. This is a great family of dancers and I appreciate how supportive everyone is. I know my colleagues will be there for me when I need them and I for them. Tomas: I’m enjoying golf and my grandkids now. But I’m still capable of performing so I’m looking forward to Frame by Frame in 2021. I’m excited to watch the company grow further and curious about who the next director will be. Jillian: And what new opportunities will present themselves!
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BR U AR Y FE
Dance About: Sharing the Joy of Dance with Students in the GTA
Inside Scarborough’s Galloway Road Public School gymnasium, the walls are decorated with victory banners for the school’s athletic teams. The banners emblazoned with the phrase “Go Gators!” supply cheerful encouragement for physical pursuits. On a February morning, Joseph, an elementary school student grinned as he received a lineup of high-fives from teachers before he returned to his seat. On this occasion, the gymnasium floor was referred to as “the stage” and Joseph’s victory was that he had successfully interpreted a miming sequence from the ballet La Sylphide performed by Principal Character Artist Rebekah Rimsay. Rebekah was in costume as the fortune teller Madge, when Joseph joined her in front of his classmates, who made up the gymnasium audience. As Joseph danced the mime along with
Rebekah, he inspired some fresh interpretations of the movements for the professional dancer, to the delight of his teachers. On this winter morning the Galloway gym became the setting for a customized performance of The National Ballet of Canada as part of the company’s longest running community engagement initiative, Dance About. The in-school programme provides elementary students with a glimpse behind the scenes of the National Ballet, and has reached over 160,000 students over the last 50 years. Dance About offers the opportunity for children from various socioeconomic backgrounds and cultures to experience classical ballet in their own environment and a chance for educators to use ballet as a tool to explore a range of subjects. “There has been a lot of uncertainty for
the students this school year, so I thought it was really important not to miss this opportunity for the whole school to get together and experience ballet,” says Galloway Principal Riaad Lachporia. When Artist Educator Annemarie Cabri asked the room of students and staff how many of them had seen a ballet before, about 10 of the approximately 200 students raised their hands. “I’ve seen The Nutcracker before, nothing else and never anything up close,” said classroom assistant Lorraine Valentine. Dance About aims to demystify the world of professional ballet by bringing all the elements of the art form up close, from the first steps at the barre to pointe shoes, make-up and costumes. The programme is tailored for students in kindergarten through grade six, however all the material
Apprentice Daina Zolty at a Dance About Performance. Photo by Bruce Zinger.
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comes from the National Ballet repertoire. Four dancers, a piano accompanist, a narrator and a stage crew highlight the beauty of ballet. Schools are prepped with a study guide and suggestions for further discussion. At Galloway, Apprentices Albjon Gjorllaku and Daina Zolty began with a demonstration of their daily warm-up at the ballet barre. Annemarie narrated their activities, cheerfully engaging the students by asking them what they thought of the movements. At the same time Principal Character Artists Rebekah and Alejandra Perez-Gomez transformed themselves in front of the students by applying wigs and makeup. The Apprentices then performed excerpts from The Sleeping Beauty and Flower Festival. As Daina whipped through her 16 fouetté turns, the students counted their
number as a chorus. “They focus and look at one thing and every time they come around, they look at that one thing,” offered a young man, when Annemarie asked how they think dancers keep from getting dizzy. “That’s called ‘spotting,’” said Annemarie, impressed with the student’s clear breakdown. The programme concludes with a question and answer session which gave the students and dancers a chance to get technical as well as personal. “How do you practice the dances so well?” asked one younger student. “We learn the dance in sections,” answered Daina. “And our coaches provide corrections and then we repeat,” supplied Albjon. “What is it like being a man doing ballet?” inquired an older student from the back of the gym. She nodded respectfully as Albjon related his experiences. “When you’re young you get lots of comments about what
stereotypes this might mean but if you find a passion for something and you enjoy it, you just get on with it and do what you want to do.” Dance About provides a special occasion for the National Ballet and its dancers to step out of the theatre and into the world, engaging in a mutually rewarding exchange with future generations of potential artists, audiences, and citizens of the community. In 2019/20 Dance About reached 3,000 audience members over 10 performances in the Greater Toronto Area.
The National Ballet of Canada extends deep appreciation and thanks to Scotiabank for sponsoring Dance About from 2006 to 2020.
Clockwise from top: Principal Character Artist Rebekah Rimsay with audience at a Dance About Performance. Apprentices with audience. Photos by Bruce Zinger. The National Ballet of Canada
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Engaging with Children and Youth Online The National Ballet of Canada remains committed to sharing the joy of ballet with young audiences even as the nation practices social distancing in the midst of the global pandemic. With school and in-person events on hold, the company is reaching out virtually with fun and informative content designed specifically for kids. Starting this month, young people
can access the company’s “Ballet Fun for Kids” web pages to learn more about ballet, watch clips from favourite performances, show off their dance moves and get inspired with arts and crafts. The National Ballet has provided these resources directly to schools and teachers throughout Canada, in order to share the content in their virtual classrooms.
On April 30, the National Ballet offered its first ever livestream ballet class for children on Instagram, led by Lisa Robinson, Manager, Education and Community Engagement. The class attracted over 100 participants and was recorded for future use online. Over 9,000 people viewed the first class and a second class has already been recorded.
“One of The National Ballet of Canada’s highest priorities is to bring all the rewards of dance in terms of creativity, joy and human connection to young people throughout Canada, and not only to those with access to in-theatre performances. It feels even more pressing to do so now, when children are isolating at home, away from their peers, teachers and schools, and struggling to make sense of what’s happening around them. Our hope is that dance will bring some much needed light into their lives.” - Lisa Robinson, Manager, Education and Community Engagement
Help Kids Connect with us Online! national.ballet.ca/Explore/Ballet-Fun-for-Kids
Dance Intensive Students in class. Photo by Edwin Luk. 16
The National Ballet of Canada
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In Memory 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 dance. Her commitment will live on through the Anna McCowan Johnson Dance Accessibility Fund in The National Ballet of Canada, Endowment Foundation, which will continue to support education and outreach activities for youth. The company 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.
Joanne Nisbet Joanne Nisbet joined the National Ballet in 1959 upon an invitation from Founding Artistic Director Celia Franca. She was named Ballet Mistress in 1963 and Senior Ballet Mistress in 1983. Ms. Nisbet retired in 1988 but continued to be a Guest Ballet Mistress until 2003. “Joanne was a true pioneer of this company,” says Karen Kain. “She would never settle for anything other than excellence but was always kind and fair in how she got you there. She was so empathic, supportive and considerate in everything she did. We all owe a lot to Joanne and I am honoured to have benefited from her wisdom and generosity. She will be dearly missed.”
In Brief Endowment Match David Macdonald, Chair of The National Ballet of Canada, Endowment Foundation extends appreciation and thanks to the many donors who made a gift to the Endowment Foundation between December 1, 2018 and November 30, 2019. The National Ballet is eligible to submit an application on an annual basis for the Endowment Incentives Matching Grant component of the Canada Cultural Investment Fund, which will match up to $1 million in donations. This year, the Department of Canadian Heritage has matched 65% of each dollar raised by our donors to provide a contribution of $650,000. The National Ballet is grateful to the Department of Canadian Heritage, which has contributedover $15.5 million in grants to the Endowment Foundation since the beginning of this program. Bravo to all the donors who are investing in a strong financial future for the company. Donald K. Johnson, O.C. and Anna McCowan Johnson. Photo by Karolina Kuras. Joanne Nisbet with Artists of the Ballet. The National Ballet of Canada
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Tanya Howard. Photo by Karolina Kuras. 18
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While our dancers are at home practicing safe social distancing or taking class at the Walter Carsen Centre in small pods, they are continuing to find creative ways to stay fit and to express themselves artistically. Follow along digitally via The National Ballet of Canada’s website and social media channels.
Donor Events Thank you for your passion and dedication as a valued member of our donor family. Your support means everything to us. We are proud to provide connection and continuity using digital platforms to show you the continuing impact of your support. It is our hope to enrich people’s hearts and minds online and we look forward to engaging with you in person once we’re able to do so. For upcoming events, please visit national.ballet.ca/Donate/Digital-Donor-Events.
Recent Events Catch up on events by watching recordings of our recent livestreams, including conversations with dancers, opportunities to learn more about YOU dance and Principal Character Artists plus a panel discussion about ballet and motherhood. Visit national.ballet.ca/Donate/DigitalEvents/EventHub.
More to Enjoy Expansive Dances The National Ballet commissioned our Choreographic Associates – Robert Binet, Guillaume Côté and Alysa Pires – to create new works, which were beautifully shot by the acclaimed director Ben Shirinian and produced by Mr. Shirinian and Jared Cook of Lookout.
Sharing the Stage We’re connecting with our colleagues in the Toronto dance community to dance with us on our digital stage. Take a class, alongside a National Ballet dancer, and learn some new moves together, like Bollywood, Afro-Contemporary or mood boosters.
Ballet Moments Lift your spirits as you enjoy excerpts from ballets in the National Ballet’s repertoire.
Ballet News+ Visit the National Ballet’s digital hub to learn more about dancers through our 20 Questions series, plus read articles and watch videos to keep you up-to-date and informed.
In order to ensure you are receiving notifications of upcoming digital events, please visit ‘My Account’ to check that we have your current email address and you have opted in to receive emails. If you have questions or need assistance, please email us: friendscorps@national.ballet.ca patrons@national.ballet.ca turnout@national.ballet.ca
Visit national.ballet.ca/Join-Us-Virtually for all the newest updates. 19
Acclaim for Angels’ Atlas Congratulations to Crystal Pite who won a Dora Award (celebrating excellence in the city’s professional performing arts sector) for Outstanding Original Choreography and Jay Gower Taylor who won for Outstanding Achievement in Scenic Design for their work on Angels’ Atlas. Following its world premiere on February 29, the ballet received rapturous critical and public acclaim. Angels’ Atlas will open the revised 20/21 Season, March 3 – 7, 2021. “I could not think of a more fitting ballet for our return than Crystal’s profoundly moving work about human connection and the ephemerality of existence,” says Artistic Director Karen Kain.
“Pite has created another masterpiece.” — Ludwig van Toronto
“Human yearning is evoked powerfully onstage… Crystal Pite has a gift for bringing out the very best in dancers.” – Toronto Star
“A glimpse into the infinite... Angels’ Atlas explores the human condition to rapturous choral music and ingenious lighting design.” – The Globe and Mail
Artists of the Ballet in Angels’ Atlas. Photo by Karolina Kuras.
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