Preview | Spring 2023 - Issue 60

Your Generosity in Action

As we head into our final performances of the 2022/23 season, I want to reflect on the incredible impact of your support for The National Ballet of Canada so far this year, from our Ottawa tour of Romeo and Juliet to the fabulous reception of our Winter Mixed Programme, our record-breaking run of Cinderella – including a sold-out Relaxed Performance – the first international livestream of The Erik Bruhn Prize and our return to the world stage with a stellar engagement at New York City Center. Your generosity is the common ground in these pursuits and we could not realize them without you.

The passion and commitment of our donor family continues to be deeply felt this spring as we prepare two full-length ballets that were created for the company: Frame by Frame by Robert Lepage and Guillaume Côté, and Romeo and Juliet by Alexei Ratmansky. We are dedicating this season to a transformational donor, Avie Bennett, whose lifetime service to the National Ballet included leadership gifts to both productions. Avie’s philanthropic legacy in Canada is extraordinary and we are proud to be part of it.

This spring we will celebrate the outstanding careers of Principal Character Artists Alejandra Perez-Gomez and Stephanie Hutchison onstage following select peformances of Romeo and Juliet. Both are retiring from the stage, with Stephanie to continue in a new role as Rehearsal Director. Principal Dancer Guillaume Côté is also marking a career milestone with Romeo and Juliet, dancing the role of Romeo for the final time.

Finally, I am delighted to see the return of our signature fundraising event, MAD HOT BALLET, for which I have curated an exciting programme of dance. I look forward to connecting with you in the “roaring 20s” as we raise vital funds for the future!

With gratitude, Hope Muir

Joan and Jerry Lozinski Artistic Director

Opposite: Hope Muir in New York. Photo by Karolina Kuras.

Heather Ogden is sponsored through Dancers First by Ira Gluskin and Maxine Granovsky Gluskin. Heather Ogden and Artists of the Ballet in Frame by Frame. Photos by Karolina Kuras.

The Technical Wizardry of Frame by Frame

For the first time since the world premiere in 2018, The National Ballet of Canada is set to perform Frame by Frame by theatre legend Robert Lepage and Principal Dancer and Choreographic Associate Guillaume Côté. A collaboration with the National Film Board of Canada and Ex Machina, this multimedia production explores the life and work of Scottish Canadian animator Norman McLaren, marrying film, dance and sound through technical wizardry. More than homage, Frame by Frame embodies McLaren’s curiosity and experimental energy.

“Because of Robert and Guillaume’s desire to feature film content from Norman McLaren and use his art as an inspiration for telling the story of his career, Frame by Frame was guaranteed to be a complex audiovisual production,” says Director of Production Barney Bayliss, who also participated in the creation of Frame by Frame. “Added to that is the sheer number of scenes with very different lighting, video and audio content with very fast transitions.”

McLaren is renowned for analog methods of animation and sound creation, specifically his synchronized hand-drawn Artists

techniques on film. His pioneering work at the National Film Board began in 1941 and produced a large catalogue of short films, including the Academy Award-winning Neighbours, and he recruited and trained emerging animators in Canada and overseas, setting the foundation for the animation industry today. Frame by Frame uses dance to explore McLaren’s universe, merging original film footage with re-enactments, new technologies and choreography.

“The experimentation by the creative team of Frame by Frame was very much in the spirit of McLaren’s work with film and sound,” says Bayliss. “Whether we were using LED light sticks in place of hand-drawn squares of colour or recreating McLaren’s painstaking optical printing techniques live, using digital video and a media server, the work was done in a way that reflects his creativity, playfulness and aesthetic. If McLaren were alive today, I think he would be working with many of the same tools.”

In April 2023, a core crew of technicians and a stage manager travelled with the dancers to Lepage’s company Ex Machina

in Québec City to workshop the show, since even minor changes by Lepage or Côté require adjustments in sound, video and lighting. This has been rewarding work for Bayliss, for whom Frame by Frame is not only a cherished creation, but also one of his last for The National Ballet of Canada, where he has led the production team with kindness, commitment and invaluable expertise.

“Frame by Frame was a very special production for me in 2018,” he says. “Having worked with Lepage on Bluebeard’s Castle/Erwartung and The Nightingale for the Canadian Opera Company, and having studied film originally, nothing could be closer to what I like.”

Lead philanthropic support for Frame by Frame is generously provided by The Walter Carsen New Creations Fund, with additional support from First Plazas Inc. in memory of Avie Bennett, The Catherine and Maxwell Meighen Foundation, Rosamond Ivey, The Hal Jackman Foundation and The Producers’ Circle.

The 2023 restaging of Frame by Frame is generously supported by Valerie and Hunter Thompson in honour of Kiki Delaney.

of the Ballet in Frame by Frame. Photo by Karolina Kuras.

The Special Alchemy of New Productions and Touring

At the end of March, I sat in quiet anticipation of The National Ballet of Canada's trip bill at New York City Center. I was surrounded by a small but mighty contingent of National Ballet supporters who contributed toward the tour and otherwise a local crowd of discerning dance lovers. The excitement was palpable for the US premiere of Crystal Pite’s Angels’ Atlas and the NYC premiere of David Dawson’s Anima Animus.

A special sense of pride washed over me with each successive piece and the enthusiastic response of the audience, culminating in a prolonged standing ovation. It was a great occasion for the company and Canada.

Invitations to perform in international dance centres ceased entirely in March 2020 and are only now starting to return. Prior to the pandemic, the National Ballet had enjoyed a decade of touring consistently to The Kennedy Center in Washington, D.C. and to New York City. As well, there were tours to London, UK, Paris, Hamburg, Los Angeles and San Francisco.

All these tours were the result of the company’s unique repertoire –Alice’s Adventures in Wonderland, The Winter’s Tale, Nijinsky, Romeo and Juliet or Emergence. Dance

presenters are always on the lookout for new work they feel their audiences will appreciate and will not see anywhere else.

The National Ballet is committed to investing in new productions – our creative capital – to offer our dancers the extraordinary opportunity to work and collaborate with the world’s best choreographers and imprint the company’s DNA on new creations. Artistic Director Hope Muir has also made a commitment to explore new choreographic voices and broaden representation.

We owe a great debt to our donors who have invested in new work with their gifts: The Volunteer Committee, New Production Underwriters, members of The Producers’ Circle and legacy donors who have established Named Funds to ensure there are consistent resources to develop and produce new work. Many of the underwriters for Angels’ Atlas were present in New York City and have joined us on previous tours to experience the special thrill of seeing the National Ballet embraced and appreciated by an international audience.

For the Summer Season, we pay special tribute to Avie Bennett, a legendary supporter of the company

and Canadian culture who funded 20 new productions over two decades as an anonymous donor. He made special gifts to Frame by Frame and Romeo and Juliet and was always eager for our artists to be challenged and celebrated in new work. His spirit lives on each time we stage the works he so generously supported. Avie, we dedicate this season to you.

– Diana Reitberger, CFRE Director of Development

Company on Stage in New York. Photo by Karolina Kuras.

A Tribute to Avie Bennett, C.C., O.Ont.

The opening of Frame by Frame on June 2 will mark the 6th Anniversary of the passing of Canadian business leader and philanthropist Avie Bennett. It is only fitting that The National Ballet of Canada has dedicated the Summer Season to Avie, whose partnership over more than 30 years included leadership support as well as his service on the Board of Directors and the Honourary Board. Through his generosity and volunteerism, he always inspired excellence and a spirit of goodwill modelled in his image.

Avie had a particular interest in new productions and helped to bring 20 creations to the stage, including Frame by Frame and Romeo and Juliet, both on stage this June.

Frame by Frame, with its all Canadian creative team and subject in Scottish Canadian animator Norman McLaren, was a perfect fit for Avie, as was Romeo and Juliet, which re-established Toronto as a site for new production building in 2011.

Avie’s influence on Canadian arts and culture cannot be overstated. His passion for Canadian voices was reflected in his dedication to Canadian publishing, art and history and will extend through endowed funds at York University (history) and the University of Toronto (literature).

The company is honoured to name Avie Bennett among its most transformational donors.

Productions funded by Avie Bennet: The Seagull

Onegin

Alice’s Adventures in Wonderland

Romeo and Juliet

Nijinsky

Watershed

Being and Nothingness (Part 1)

Unearth

…black night’s bright day...

Spectre de la Rose

Being and Nothingness

Piano Concerto #1

Symphony #9

The Winter’s Tale

Cacti

Pinocchio

Frame by Frame – First Plaza’s Inc., in memory of Avie Bennett

The Vertiginous Thrill of Exactitude

Approximate Sonata

Swan Lake

“Over my career with the National Ballet, Avie was a cherished friend, leader and advocate of the company. He was committed to supporting excellence in dance and specifically championing new work. We are all forever grateful.”

– Karen Kain, Artistic Director Emerita

Avie Bennett and Karen Kain, 1986. Photo by Barry Gray.

Romeo and Juliet Supernumerary Geoffrey Fulton Raises Vital Funds

Geoffrey Fulton is a visionary donor whose approach to giving reflects his passion for the stage and his dedication to building an inspired philanthropic community. He has been performing with The National Ballet of Canada as a Supernumerary since 2014, appearing most recently in the Ottawa tour of Alexei Ratmansky’s Romeo and Juliet in February. Fulton, who has also appeared as a "Super" with such companies as American Ballet Theatre, Boston Ballet and Sarasota Ballet, set up a one-of-a-kind Named Fund within the Endowment Foundation in 2021 to support Supers for the National Ballet in perpetuity:

The Geoffrey W. Fulton Fund For Supernumeraries.

What was your first experience with The National Ballet of Canada and how did it inspire you to give?

Two decades ago, I was incredibly impressed seeing former Principal Dancer Jillian Vanstone's unwavering commitment to her craft, which led me to follow her career closely, often attending ballets. I've had the pleasure of helping her with her real estate ever since. Following an instinct, I asked her who these full costumed "nondancer" people were on stage in the big classical ballets. It was this pivotal conversation in late 2013 that started my journey of giving to the National Ballet where, in essence, I gave my time first.

Why do you feel that Supernumeraries is an important area to support?

Extra bodies are needed in the classical ballets and we adults dream of these “standing” roles, whereas the dancers would much rather dance! There's an energy that's created even in rehearsal when adult and child Supers are mixed in with the dancers. Everyone wins, and my Named Fund was created with this in mind.

You aspire to raise $100,000 for the company. Could you tell us about that goal?

Absolutely! It's a time bound goal I wish to achieve by my 55th birthday, three summers from now. Joining Esprit de Corps moves me closer and I'm working

Genevieve Penn Nabity is sponsored through Dancers First by George & Kathy Dembroski. Geoffrey Fulton, Genevieve Penn Nabity, Cindy McLennan and Georgina McLennan at New York City Center.

Lead philanthropic support for Romeo and Juliet is provided by Sandra Pitblado, C.M. & Jim Pitblado, C.M., with additional generous support from Sandra Faire & Ivan Fecan, The Catherine and Maxwell Meighen Foundation, an anonymous friend of the National Ballet and Walter Carsen, O.C.

with the National Ballet’s skilled Development Department on other exciting ways to bridge the gap. I've been inspired by the company’s donor family for many years and my initiative here gives me great pride. Simultaneously, my goal as a “home grown” Super is to continue to perform on as many stages with as many ballet companies as I can around the world over the next 20 years.

What role do you play in Romeo and Juliet and what does it feel like to experience this production from the stage?

I'm The Duke of Verona's lead guard. Being on stage a few feet away from the incredible dancers is exhilarating! Their artistry, subtleties and the way they communicate with each other (through their eyes) often has me in full body goosebumps. The men leap and my soul leaps with them! The women light up the stage doing the impossible with ease. We guards can steal glimpses of the passion with which the Orchestra plays Prokofiev's magnificent score, and our hearts are pounding a mile a minute when we follow the Duke's command to clear the slain bodies of Tybalt and Mercutio. That's as pressure packed as it gets for us Supers and we love every second of it!

You've mentioned that giving to the National Ballet is more like giving back. Can you expand on that?

The inspiration I experience in a show environment is powerful and I’ve learned to leverage it. After each run of shows, I make a needed (often difficult) change in my life, either personally or professionally, and I can honestly say it is the dancers who give me this courage and propel me to do so. Nine years of this process has improved my life significantly. My giving is also a heartfelt “thank you” to everyone involved with The National Ballet of Canada.

Geoffrey Fulton Backstage at Romeo and Juliet. Photo by Karolina Kuras.

presents Romeo and Juliet

Rebekah Rimsay Bids Farewell A Personal Note to the Donor Community

Dear Donors,

As I bid farewell to The National Ballet of Canada, I wish to extend my sincere gratitude for your generosity and support. Your investment in ballet as an art form, and the National Ballet as an organization, has enriched the lives of many audience members and artists like myself, who have embodied and brought to life the magical world of ballet.

The past 33 years have been a privilege and a journey as I immersed myself in the athleticism and storytelling of many incredible choreographic works. I have had the honour of working with world-renowned choreographers and colleagues and have relished performing the full spectrum of our repertoire. More recently, I have had the full-circle opportunity of passing on some of these ballets through setting and coaching some of our legacy ballets and participating in education programmes. Thanks to your support, the many roles I have occupied within the National Ballet represent a rich and varied array of experiences at the highest level of excellence in ballet.

As fulfilling as my career opportunities have been, I will forever hold dearest in my heart the relationships and friendships I have had the honour of forming with fellow dancers, colleagues from all departments of the company and many of you who have faithfully and passionately shown up, supported and been advocates for this organization.

Donors like you funded the company I saw as a little girl that made me want to participate in the world of ballet – an art form that transcends words. And for today’s audiences, ballet offers an experience that embodies music, thought and emotion – a three-dimensional, living, breathing experience that is more relevant than ever in today's digital world. The National Ballet is one of the rare ballet companies that can bring a full spectrum of dance to the stage, from exquisite classicism to the most expressionistic modern dance – works representing a trajectory of tradition, lineage, growth and innovation. Your generosity has brought timeless stories and boundary-pushing contemporary works to the world stage, which has moved, challenged, inspired and embodied the imaginations of countless audiences and dancers alike.

Thank you, Principal

Character Artist

“I am constantly in awe of the dedication and love for ballet I see in all of you, and I am grateful for the opportunities and livelihood it has afforded me.”

– Rebekah Rimsay

Rebekah Rimsay. Photo by Karolina Kuras.

Engaging Our Communities

The National Ballet of Canada’s community engagement programmes are in full swing in 2023 with a diverse offering of in-person and digital initiatives. Highlights include the first Touch Tour for the Blind/Partially Sighted communities as part of the Relaxed Performance of Act II from James Kudelka’s Cinderella, a Specialist High School Majors discussion panel and student matinee, and the first free livestream of The International Competition for The Erik Bruhn Prize, viewed by over 8,000 people around the world. The company is grateful for the generous donors who support these initiatives and have helped pave the way for a return to inperson programming following the pandemic.

“Having the Education and Community Engagement programming back in full has been very exciting,” says Lisa Robinson,

Senior Manager, Education and Community Engagement. "Nothing compares to being in person and having shared human experiences, whether that’s in schools, communities or the theatre. We’re thrilled that our communities feel the same way and are eager to be engaging with us again.”

Throughout March and leading into the week of April 17–21, the National Ballet resumed the popular YOU dance Residency and National Livestream, in which students from local schools experience dance through artist-led workshops, community performances and live shows by the dancers of the RBC Apprentice Programme. This year, the weeklong residency was held at York University and involved partnerships with Story Planet and Children & Youth Dance Theatre of Toronto, with a final performance livestreamed throughout Canada.

St. Jane Frances Catholic School RBC Apprentices answer audience questions at a YOU dance performance. Photo by Bruce Zinger.

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 an Anonymous Lady and an Anonymous Donor.

The RBC Apprentice Programme is sponsored by The RBC Emerging Artists Project. Additional support for the RBC Apprentice Programme is provided by Turnout.

The National Ballet’s Digital Projects are generously supported by The Azrieli Foundation.

The National Ballet of Canada is grateful to the members of the Honourary Board who collectively and generously contributed to the 2020 Digital Infrastructure Project to provide capital funding for equipment for digital capture and distribution.

“St. Jane Frances C.S. is grateful for the opportunity to explore movement and dance in preparation for The National Ballet of Canada performance. The workshop allowed for the discovery of new sounds, instruments and various movement activities. Manpreet was instrumental in sharing his knowledge and appreciation for the arts, while creating an atmosphere of excitement and inclusion!”

– Sandra La Selva, Principal,

Audience Members at the Relaxed Performance. Photos by Aidan Tooth.

YOU dance Teaching Artist Manpreet Singh Virdi

April’s YOU dance Residency at York University benefitted from the enthusiasm and expertise of Manpreet Singh Virdi, The National Ballet of Canada’s newest Teaching Artist. The Toronto-based dancer, choreographer and teacher is a member of the North Side Crew, the official dance team of the Toronto Raptors, and he teaches jazz, contemporary and Bollywood across the GTA.

Why does the YOU dance programme appeal to you?

As a dance artist, I have always been inclined towards teaching and mentoring young dancers. I feel strongly that little moments or experiences can have the biggest impact on anyone’s life. YOU dance felt like a programme I wanted to be associated with because of the immense reach it has and the number of students we get to inspire. Knowing that YOU dance could help me play a small role in planting the seeds of dance and movement in young minds was an instant draw.

This spring, you participated in the YOU dance Residency at York University. What are the benefits of an extended community partnership like this?

YOU dance is a great way to engage with young students and give them a sense of what ballet is and how dance impacts all our lives. I remember as a child, I never got

to watch ballet due to the lack of access to such performances back home. It was amazing to see the joy and inspiration the students at the YOU dance Residency experienced watching ballet – most of them for the first time.

In India, you taught dance and movement to children in underserved communities. What inspired you to do this work?

Dance as an art form in India is rapidly changing and expanding; however, access to dance classes and shows is still minimal, especially when it comes to underserved communities. Learning, watching and observing dance as an art is revolutionary; it inspires people and can be the change we wish to see in the world, which is why it’s so important that it’s inclusive and equitable. Everyone deserves education and exposure to the arts and I aspire to be part of the change necessary for this to happen.

YOU dance Lead Sponsor

YOU dance is supported by Ballet Club Relevé, Susanne Boyce and Brendan Mullen, Fatima Laher, Maxine Goldberg and Elizabeth A. Currie & Richard J. Currie, O.C.

Manpreet Singh Virdi and students during a YOU dance Workshop. Photos by Bruce Zinger.

MAD HOT BALLET Returns

The National Ballet of Canada’s largest fundraising event is back for the first time since 2019 with a stylish new theme and a brilliant programme of dance curated by Artistic Director Hope Muir. MAD HOT BALLET: Deco-Danse evokes the roaring 20s with a deluxe cocktail reception and multi-course gourmet dinner and dancing on stage for donors, accessible by whispered password. This swell event aims to raise $1 million to support the National Ballet’s artists, performances and community initiatives.

MAD HOT BALLET returns June 6, 2023, with Gala Co-Chairs Sonja Berman, Cleophee Eaton and Candice Sinclair.

“This year’s theme –Deco-Danse – unites the opulence and glamour of Art Deco with the promise of a new modern era. And a new era it is, with the opportunity to gather together once more, to dine and dance with the National Ballet’s incredible artists and to raise funds to benefit this magnificent company and its new leader, Artistic Director Hope Muir.”

– Sonja Berman, Cleophee Eaton and Candice Sinclair

Harrison James is sponsored through Dancers First by Lucy White. Siphesihle November is sponsored through Dancers First by Jerry Lozinski, O.C. & Joan Lozinski, O.C. Jeannine Haller is sponsored through Dancers First by Devida & Derek Smith. Harrison James, Siphesihle November, Tirion Law, Jeannine Haller and Emerson Dayton. Photos by Karolina Kuras. Lead Sponsor of MAD HOT BALLET

Standing Ovations in New York City!

The National Ballet of Canada made a triumphant return to international touring with performances at New York City Center from March 30 to April 1, 2023, featuring the US premiere of Crystal Pite’s Angels’ Atlas, David Dawson’s Anima Animus and Kenneth MacMillan’s Concerto. It has been 15 years since the National Ballet appeared at New York City Center and this return was unforgettable, more so thanks to the generous donors who facilitated and joined in the tour.

The National Ballet of Canada thanks the following donors for generously supporting the tour to New York City: John & Claudine Bailey, Judi Conacher, Indra & Rags Davloor, Laura Dinner & Richard Rooney, Flora Do, Rosamond Ivey, Krista Kerr, Eunice Lumsden & Peter Luit, Ned & Georgina McLennan, Sandra Pitblado, C.M. & Jim Pitblado, C.M., Tim & Frances Price, John & Susan Rose, Alison & Alan Schwartz, Michelle & Duncan Sinclair and 3 Anonymous Donors.

Jordana Daumec. Photo by Karolina Kuras.

“One of the most profound dance works I’ve ever seen by Crystal Pite… Go see the National Ballet at New York City Center!!! These dancers were so amazing and inspiring to watch.”

– Sara Mearns, New York City Ballet Principal Dancer

“They came, they danced, they conquered! Way to go, The National Ballet of Canada, world-class ambassadors of dance and of Canada.”

– John Loomis, via Facebook

“Thank you, thank you, thank you. This is only the second time in 60 years I have experienced anything deserving of the superlative ‘awesome’.”

– Sculpthig, via Instagram

Corps Q&A: Ayano Haneishi

How would you compare daily class to performances?

In class, I focus on myself and listen to my body. It helps me feel more aware and then I’m motivated for the day. I am a little nervous before a performance but I love the beauty of dancing on stage. I aim to share my emotion with the audience and I enjoy the exchange when the audience responds.

Is there a particular moment onstage that stands out for you?

of the most enjoyable ballets in the repertoire to perform. And National Ballet audiences haven’t seen any version in a while so I think they’re excited too.

What do you appreciate most about the company?

Born: Chiba, Japan

Trained: Ecole de Ballet Pieds

Nus and New National Theatre

Ballet, Tokyo

Joined: 2019

How were the performances at New York City Center?

It was a wonderful atmosphere; the theatre was beautiful and the audiences were welcoming and appreciative. I was so excited to be in New York City for the first time. My colleague and friend Alexi [Alexander Skinner] and I stayed for a few more days after the tour to go to museums, Broadway shows and walk around. I really want to go back!

What is your approach to your work?

I like to challenge myself. Sometimes, though, I can be a little scared and worry too much, but I remind myself to try things once. Even if I get something small out of the experience, I trust it will contribute to my artistic growth.

When I was a child, I always wanted to dance in Serenade. For our first performance back onstage after the pandemic, the curtain lifted and I felt goosebumps all over my body. The opening tableaux is a beautiful moment and that time it felt extra special.

What are you looking forward to the most in the 2023/24 season?

Everything! Every production will be new to me (except The Nutcracker, of course). If I have to pick one, though, I’d say Carlos Acosta's new production of Don Quixote. It’s one

So many things, like rehearsing every day in beautiful studios and performing in an amazing theatre. Most of all, it’s the people I get to work with. I always get a lot of inspiration from colleagues and that includes fellow dancers as well as our Wardrobe and Production teams, the musicians and administrative staff. I’m so grateful to be in this company and to work together with everyone to produce and perform ballet.

Do you have any plans for the summer?

Every summer break I go back to Japan to see my family and friends. This year I’ll take Alexi with me and show him around. We have lots of plans already, like going to Kyoto and Osaka then visiting my grandparents in Hokkaido (the northernmost prefecture of Japan).

Ayano Haneishi. Photos by Karolina Kuras.

Keep me on my toes!

Become a founding supporter of the Pointe Shoe Fund by donating $125 today!

POINTE SHOE FUND

Every year the company supplies up to 3,000 pairs of pointe shoes to the dancers to ensure we have the proper footwear to take daily class, rehearse and perform. Each pair is custom made by hand to the specifications of each dancer and costs $125.

Make a charitable gift today and you will receive a pointe shoe signed by me or one of my colleagues!

Chelsy Meiss is sponsored through Dancers First by Anne-Marie Canning. Chelsy Meiss. Photo by Karolina Kuras.

Chelsy Meiss