2014/15

Swan Lake

choreography and music Réjean Photography Brandt MARCH 04/2015 PHOTO:

STUDY GUIDE Sophia Lee + Liang Xing (Guest Artist) (Guest + Liang Xing Sophia Lee ABOUT Canada’s Royal Réjean Brandt Photography Réjean Brandt PHOTO: PHOTO: Company Dancers Company Dancers

Gweneth Lloyd and Betty Farrally founded Canada’s School nearly 75 years ago. The two women met when Lloyd was running a dance school in Leeds, England and Farrally was her student. They both immigrated to Canada in 1938, and settled in Winnipeg. There they offered dance classes to the community – starting out with only six students in their first year. Word quickly spread, however, and by year two their enrolment had grown and they were able to establish the “Winnipeg Ballet Club.” By 1943, The Winnipeg Ballet was formed with all of its dancers coming from the Club. Six years later, the Company officially became a not-for-profit cultural institution. In 1951, the Company was invited to perform for then Princess Elizabeth during her visit to Winnipeg, just prior to her becoming Her majesty Princess Elizabeth’s visit to Winnipeg visit to Elizabeth’s Princess Her majesty Queen of England. Following her coronation in 1953, she bestowed The Winnipeg Ballet’s “Royal” designation. Between the Royal Winnipeg Ballet (RWB) School’s two divisions of study, there is a place for virtually every type of dance student: from preschoolers to adults, those new to dance and those aspiring to become professional dancers. Gweneth Lloyd, Betty Farrally, Betty Farrally, Lloyd, Gweneth T-B includes a command performance which introduces her to The Winnipeg Ballet (1951) The Winnipeg Ballet her to which introduces performance includes a command

ROMEO + JULIET STUDY GUIDE | 1 PREPARING to see the ballet

This booklet is designed to enhance the student’s experience at Canada’s Royal Winnipeg Ballet’s performance of . The activities and information included are organized to help students prepare, understand, enjoy, and respond to their experience watching the performance.

DURING THE PERFORMANCE: AFTER THE Enjoy the ballet! As part of the audience, your attendance is as essential to the ballet PERFORMANCE: performance as the dancers themselves. Prior to arriving at the theatre, discuss Process and respond proper audience etiquette using the keywords below. These steps will help students to the performance handle their feelings and enthusiasm appropriately. It is also very important to arrive by engaging in class on time or even early for the performance in order to allow enough time to settle in discussions or writing a and focus on the performance. letter to the RWB. We love CONCENTRATION: Always sit still and watch in a quiet, concentrated way. This to get feedback from our supports the dancers so that they can do their best work on stage. student groups. QUIET: Auditoriums are designed to carry sound so that the performers can be WRITE TO: heard, which also means that any sound in the audience (whispering, laughing, Canada’s Royal Winnipeg Ballet rustling papers or speaking) can be heard by dancers and other audience members. 380 Graham Avenue Your movement or checking your phone and texting disrupts the performance for Winnipeg, MB, R3C 4K2 everyone, so always ensure that phones and other electronic devices are turned off during the entire performance. E [email protected] facebook.com/RWBallet By watching quietly and attentively you show respect for the dancers. The RESPECT: twitter.com/RWBallet dancers show respect for you (the audience) and for the art of dance by doing their very best work. instagram.com/RWBallet pinterest.com/RWBallet APPRECIATION: Do clap at the end of a dance (when there is a pause in the music) if you feel like showing your appreciation.

At Canada’s Royal Winnipeg Ballet, our mandate is:

“To enrich the human experience by teaching, creating and performing outstanding dance.” Whether touring the world’s stages, visiting schools, offering rigorous dance classes for all experience levels, or performing at Ballet in the Park each summer, the RWB consistently delivers world class dance and instruction to the citizens Bruce Monk Bruce of Winnipeg and far beyond. PHOTO: PHOTO: Find out more about us at rwb.org. RWB Company Dancers RWB Company Dancers

ROMEO + JULIET STUDY GUIDE | 2 ABOUT Ballet

The First Ballet that have been handed and allow the audience to with the Russian composer In 16th century France and down through centuries, see her intricate footwork Pyotr Tchaikovsky to create Italy, royalty competed to and which now form the and complex jumps, which the lavish story ballet have the most splendid basis of today’s classical often rivaled those of the spectacles such as Swan court. Monarchs ballet style. men. Ballet companies Lake, The Sleeping Beauty would search for and The First were now being set up and . Today, employ the best poets, Professional Dancers all over France to train these still form the musicians and artists. At first, ballets were dancers for the opera. The basis of the At this time, dancing performed at the Royal first official repertoire of companies all became increasingly Court, but in 1669 King (a collection of dancers over the world. theatrical. This form of who train professionally) Louis opened the first One Act Ballets entertainment, also called was based at the Paris opera house in Paris. In 1909, the Russian the ballet de court (court Opera and opened in 1713. Ballet was first viewed impresario Serge ballet), featured elaborate publicly in the theatre The Pointe Shoe Diaghilev brought scenery and lavish as part of the opera. By 1830, ballet as a together a group of costumes, plus a series The first opera featuring theatrical art form dancers, choreographers, of processions, poetic ballet, entitled Pomone, truly came into its own. composers, artists speeches, music and included dances created Influenced by the Romantic and designers into his dancing. The first known by Beauchamp. Women Movement, which was company, the Ballets ballet, Le Ballet comique de participated in ballets at sweeping the world of Russes. This company la Reine, was performed at court, but were not seen art, music, literature and took Paris by storm as court in 1581 by the Queen in the theatre until 1681. philosophy, ballet took it introduced, instead of France (and her ladies) Soon, as the number of on a whole new look. The of long story ballets in at her sister’s wedding. performances increased, ballerina ruled supreme. the classical tradition, The Sun King courtiers who danced Female dancers now short one act ballets In the 17th century, for a hobby gave way to wore calf-length, white, such as, Schéhérazade, the popularity and professional dancers who bell-shaped tulle skirts. Les Sylphides, The Rite development of ballet trained longer and harder. To enhance the image of of Spring, Firebird and could be attributed to The physical movement the ballerina as light and Petrouchka. Some of the King Louis XIV of France. of the first professional ethereal, the pointe shoe worlds greatest dancers, He took dancing very dancers was severely was introduced, enabling including seriously and trained daily hindered by their lavish women to dance on the (1881-1931), Vasslav with his dance master, and weighty costumes tips of their toes. Nijinsky (1889-1950) and Pierre Beauchamp. One and headpieces. They also Classical Ballet choreographers Mikhail of the King’s famous wore dancing shoes with Although the term Fokine (1880-1942) and roles was the Rising Sun tiny heels, which made it “classical” is often used to George Balanchine which led him to become rather difficult to dance refer to traditional ballet, (1904-1983) were part of known as the “Sun King.” with pointed toes. this term really describes Diaghilev’s company. King Louis also set up Revealing Feet and Ankles a group of story ballets the Academie Royale de Early in the 18th century first seen in Russia at the Danse (Royal Academy of in Paris, the ballerina, end of the 19th century. Dance) in 1661, where, for Marie , shocked At this time, the centre of the first time, steps were audiences by shortening ballet moved from France structurally codified and her skirts to just above the to Russia. In Russia, the recorded by Beauchamp. ankle. She did this to be French choreographer These are the same steps freer in her movements Marius Petipa collaborated

DID YOU KNOW … ? SEE FOR YOURSELF! Dancing ballet puts Do a search for images of ballet a lot of wear on a dancers throughout the ages. dancer’s shoes. Some Can you notice the differences dancers need to get in costumes over time? What do new shoes every week! most dancers wear today? Marie Camargo, with her ankles exposed with her ankles Marie Camargo,

ROMEO + JULIET STUDY GUIDE | 3 THE LIFE OF A DANCER

The career of a dancer is relatively short and it is not unusual to spend more years training than dancing professionally. As in Olympic-level sport, the movements demanded of the human body in ballet are very specific and require great precision and care. For that reason, the physique must be prepared for a professional ballet career at a young age. The professional training period usually consists of at least seven years of intensive, precise work. Ideally, girls and boys should begin their professional training by age ten. Training is a very progressive process. The young professional student begins with daily classes, practicing the basic ballet positions and movements, learning body placement and how to move through the space with balance and artistry. As the student progresses, time spent in classes each week increases, as do the difficulty and extensiveness of the skills taught. In addition to daily class in classical technique, students also receive instruction in variation (solo) work, pointe (dancing on the toes), pas de deux (a dance for two), character (ethnic), jazz and modern dance. Prior to the introduction of pointe work, a number of criteria must be considered. These include the amount of previous training, a dancer’s strength and ability, as well as age as it relates to the bone development in the dancer’s feet. Pas de deux and repertoire (the collection of different ballets a dance company performs) are introduced only when the student has adequate strength, ability and training. Students who graduate to a professional ballet company usually begin dancing as a member of the corps de ballet (ensemble). After a few years, corps de ballet members whose artistry, technical ability, musicality and ability to communicate with the audience set them apart may be promoted to first or second soloist. Finally, the highest David Cooper achievement in the company, the position of principal dancer PHOTO:: PHOTO:: or ballerina, is attainable by only a few select dancers. Amanda Green Amanda Green

ESTABLISHING DANCE IN NORTH AMERICA Almost all contemporary ballet companies and dancers are influenced by Diaghilev’s Ballet Russes. The first visit by this company to North America in 1916-1917 stimulated great interest in ballet. Dancers from the were instrumental in furthering this new interest in ballet. For example, dancer George Balanchine went to the United States and founded the (originally called the American Ballet). He became renowned for perfecting the abstract ballet and for establishing neo-classicism through his choreographic masterpieces such as Serenade, Agon and Concerto Barocco. Ninette de Valois and Marie Rambert also went on to found, respective, England’s Royal Ballet and the . It is from these English roots that two English Women, Gweneth Lloyd and Betty Farally, founded the Royal Winnipeg Ballet in 1939 (the oldest ballet company in Canada). Celia Franca also came to Canada and in 1951, she founded The National Ballet of Canada in . Some of the worlds greatest dancers, including Anna Pavlova (1881-1931), Vasslav Nijinsky (1889-1950) and choreographers Mikhail Fokine (1880-1942) and George Balanchine (1904-1983) were part of Diaghilev’s company.

ROMEO + JULIET STUDY GUIDE | 4 SWAN LAKE Synopsis

CHOREOGRAPHY: Marius Petipa, Lev Ivanov SCENERY & COSTUME DESIGN: Peter Farmer MUSIC: Pyotr Ilyich Tchaikovsky LIGHTING DESIGN: Nicholas Cernovitch STAGED BY: Galina Yordanova LENGTH: 2 hours (run times are approximate) Réjean Brandt Photography Réjean Brandt PHOTO: PHOTO: Sophia Lee ACT I ACT II On the terrace of a magnificent castle, festivities are At the lake, located in the thick of a forest, swans under way. Villagers and courtiers are celebrating come ashore and are transformed into young Prince Siegfried’s coming of age, his 21st birthday. women. On seeing them, Siegfried is stunned by their The guests are entertained by a mischievous Jester, incredible beauty and lowers his arbalest. when servants announce the arrival of the sovereign The Queen of the Swans, Odette, explains that all of princess, the prince’s mother. The Queen Mother them are under the spell of the evil magician, von offers Siegfried an arbalest as a gift and reminds Rothbart, and only the power of a faithful lover is able him that the time has come for him to choose a bride to destroy the sorcerer’s spell. Siegfried is enraptured, at the next evening’s ball. he has never seen such a beautiful maiden, and falls Reluctant to marry until he is in love, Siegfried is in love with Odette, vowing eternal love to her. Odette distressed by his mother’s request, but maintains his warns the youth that if he breaks his vow, no one will composure until darkness falls over the terrace and ever be able to help the swan maidens. the guests depart. Alone, Siegfried is depressed by Dawn approaches. Once again the maidens are obscure premonitions. Seeing a flock of white swans transformed into swans and swim into the lake. in the sky, Siegfried follows them to the lake. Odette bids Siegfried farewell.

ROMEO + JULIET STUDY GUIDE | 5 ACT III The following evening in the castle ballroom, a magnificent ball is being given in Siegfried’s honor, with the full court in attendance. Beautiful princesses from various countries appear before the Prince, but no one captures his attention. Siegfried is distracted and thinks only of his love for Odette, who has captured his heart. Only at his mother’s insistence is Siegfried polite to the young ladies attending the ball. Trumpets suddenly herald the arrival of new, uninvited guests. Impersonating a noble knight, the sorcerer von Rothbart appears with his daughter, Odile. Siegfried is confused – this beauty looks unusually like his beloved Odette. Odile does not give the Prince time to collect himself. She lures him on, charming and captivating him with her allure. Enraptured, the Prince is carried away by her bewitching presence and makes a declaration of love. Henceforth, she is to be his bride. Delighted at the Prince’s betrayal of his love, von Rothbart triumphs. Siegfried has broken his oath to Odette. Love and faithfulness no longer exist and nothing can withstand von Rothbart’s evil power. With mocking triumph, Odile reveals her true identity. For a moment, Siegfried has a vision of the swans by the lake and, understanding the terrible deception of which he is victim, the distraught Prince rushes to the lake in search of Odette.

ACT IV At the lake at nightfall, Odette explains von Rothbart’s perfidy and Siegfried’s unintentional betrayal to her swan maidens. He promises to redeem his misdeed and challenges von Rothbart to single combat. Réjean Brandt Photography Réjean Brandt

PHOTO: PHOTO: Von Rothbart’s powers are destroyed and an end has come to evil wizardry. As Odette and Siegfried are united,

Sophia Lee the rays of the rising sun grant life, love, and happiness.

CHARACTERS ODETTE BARON VON ROTHBART The Queen of the Swans, Odette is a beautiful heroine An evil magician who has placed a spell upon Odette, who has been transformed into a swan by the evil transforming her into a swan. sorcery of Baron von Rothbart. She can only regain her human form at night, and will remain a swan ODILE forever unless the spell is broken by faithful love. Baron von Rothbart’s daughter who bears a striking resemblance to Odette. PRINCE SIEGFRIED Prince of the kingdom and heir to the throne, DID YOU KNOW … ? Prince Siegfried is young and lusts for adventure. The word ‘ballet’ refers to a specific dance technique The time has for him to marry and take on royal that has evolved over the last 350 years. Ballet involves responsibilities, but he refuses all the suitors in a combination of movement, music, and design, where hopes of finding true love. emotions and stories are translated through precise body movement and facial expressions.

ROMEO + JULIET STUDY GUIDE | 6 BIOGRAPHIES

Lev Ivanov was born in Moscow, Russia, on February 18, 1834. He studied dance in Moscow and in St. Petersburg, where he was a pupil of Jean Petipa (Marius Petipa’s father). He was already a member of the corps de ballet at the Maryinsky Theatre two years prior to graduating from the Imperial Ballet School in 1852. While a student, Ivanov also showed great musical talent and was an excellent pianist as well as composer of numerous pieces. He made a name for himself as a respected character dancer with the Maryinsky Theatre and later was promoted to the status of both premier danseur and mime. In 1882 he took on the duties of chief regisseur and in 1885 was named second and assistant to the aging Marius Petipa. Ivanov’s first work of choreography was a new version of La Fille mal gardée in 1885, and in 1887 he staged the full-evening The Tulip of Harlem. In 1892, Petipa became ill and Ivanov took over the choreography of The Nutcracker.

CLASSROOM ACTIVITIES LANGUAGE ARTS SOCIAL STUDIES Did you find that you became emotionally Research a famous Russian personage of the late 19th century affected by the story of Swan Lake? If so, why? and discuss his or her contribution to the period. You can Is there a universal theme inherent into the choose from a number of fields: poets, novelists, playwrights, story that drew you to the plot? composers, singers, dancers, painters, philosophers, statesmen, politicians or members of the Russian royal family. Tchaikovsky had written a tragic ending to You can even research one of the individuals involved in the Swan Lake, in which the Prince, wishing to creation of Swan Lake – Pyotr Ilyich Tchaikovsky or Lev Ivanov. remain forever with Odette, hurled her crown Also tell us about his or her personal life. Does it reflect the into the lake. The wicked magician, in the society within which the person lived? form of an owl, flew off with the crown, and the Prince and Odette were both destroyed in When Swan Lake was performed in Russia during the late the rising waters of the lake. Petipa disliked 1800s who would have been watching the ballet? What does unhappy endings and he had the Prince and this say about the society of that time period? Research the Odette united in “a temple of eternal happiness class and social structure of Russia in the late 1800s. How and bliss.” The Royal Winnipeg Ballet’s does this differ from today’s society and the audience that production of Swan Lake has a similar ending, attends the ballet? with Odette and the Prince united following the destruction of von Rothbart. Do you think Swan FINE ARTS Lake would have been as successful if it still Listen to the music from the lakeside scenes of Swan Lake had Tchaikovsky’s tragic ending? How would by Pyotr Ilyich Tchaikovsky. Is it different from the music you end Swan Lake? Brainstorm ideas for heard in the court and ballroom scenes? Is there distinctive alternate endings. music used to let you know that the swans are present? What musical instruments are used to characterize the swans? To understand Swan Lake you should be familiar with terms related to the world of Pay special attention to the costumes used in Swan Lake. princes and kings. Discuss the words below, What do the costumes say about the characters? What and see if you know their meaning. animals do they remind you of? Make your own masks that represent your different personas. • Regal • Heir Ballet uses movement to tell stories and express character. • Court • Quest How do the movements of Odette and Odile differ? What • Kingdom • Romantic love does this tell you about them? Pick your favourite literary character and use movement and body language to portray • Coming of age • Courtship their personality - see if your class can guess who you are! • Nobility • Betrayal

ROMEO + JULIET STUDY GUIDE | 7 Pyotr Ilyich Tchaikovsky was born in Votkinsky, Russia, on May 7, 1840. At age four he composed his first song and soon began piano lessons. His family settled in St. Petersburg when the boy was 12 and he entered the School of Jurisprudence. After the death of his mother two years later, Tchaikovsky found solace in music with singing and piano lessons. Under the influence of the Italian singing teacher Luigi Piccioli, he composed his first published work, the Mezza Notte. In 1861, he entered the St. Petersburg Conservatory of Music, where he worked on musical theory under the instruction of Anton Rubenstein. When he graduated four years later, Tchaikovsky was awarded the coveted silver medal. The only one of his ballet scores acclaimed during his lifetime was The Sleeping Beauty, which he completed in the summer of 1889. Tchaikovsky considered it one of his best works and although initial reception toward the ballet was cool, it quickly gained popularity and Tchaikovsky was publicly acclaimed on stage at the ballet’s 50th performance. Tchaikovsky began work in 1893 on what was to be his Pathetique Symphony, named by his brother Modeste the day after its premiere in St. Petersburg on October 28. Nine days after the premiere, on November 6, Tchaikovsky was found dead. He was 53. The circumstances surrounding his death remain wrapped in mystery.

Galina Yordanova trained for nine years at Baku in the former USSR and for five years with the in Moscow where she received her Teacher’s Diploma in 1960. She holds diplomas in Choreography and Teacher Training from the G.I.T.S. in Moscow. In 1960, Yordanova was Ballet Mistress of the Varna Norodna Opera in Bulgaria where she staged a number of classics including Romeo & Juliet, , , Coppélia, Les Sylphides, and Nutcracker. She also worked extensively with the Ballet der Deutschen Oper, Berlin and with companies in Madrid and Valencia, Spain and in Nagoya and Kyoto, Japan. In 1980, Yordanova began to spend a portion of each year in Winnipeg, teaching at the Royal Winnipeg Ballet School, Professional Division Summer Session. Her expert teaching of the Russian style contributed to the development of this teaching style in the RWB School Professional Division. In 1995, she joined the artistic faculty full-time as Resident Guest Teacher. She worked extensively with the RWB dancers to prepare them for the Company’s 1987 premiere of Swan Lake, which she staged in the Russian style. In 1990, Yordanova shared her expertise and talent in the staging of the RWB’s premiere of La Bayadère, Act II, featuring members of the Company together with young artists from the Royal Winnipeg Ballet School. For the RWB’s 1999/2000 season, Yordanova, along with Nina Menon, choreographed a new version of Nutcracker for the Company which premiered in Ottawa at the National Arts Centre on December 2, 1999.

ROMEO + JULIET STUDY GUIDE | 8 SWAN LAKE History

In 1875, Russian composer Pyotr Ilyich Tchaikovsky was invited by his friend Vladimir Begichev, intendant of the Moscow Imperial Theatre, to compose the music for a new ballet, Swan Lake. Tchaikovsky happily accepted the commission, “partly because I need the money, and partly because I have long cherished the desire to try my hand at this kind of music,” he wrote to Russian composer Nikolai Andreyevich Rimsky-Korsakov in September 1875. Legend has it that in 1871 Tchaikovsky composed a children’s ballet-pantomime, The Lake of the Swan, for Need Generic Filler photo for here his young nephews and nieces. The ballet score was essentially completed in 1876, although Tchaikovsky was to - Music related. add a few pieces later. Swan Lake was first performed on March 4, 1877, at Moscow’s . The choreography was by Julius Wenzel Reinsinger, a German who was ballet master at the Bolshoi Theatre from 1871 to 1878. The ballet was revised by Belgian choreographer Joseph Hansen in 1880 and remained in the repertoire of Moscow’s Bolshoi Ballet until 1883. All of the 33 performances of the ballet between 1877 and 1883 were sold out, attesting to the work’s popularity. Eleven years passed before the ballet was again performed. Tchaikovsky died in 1893, not living to see the Bruce Monk Bruce success of his ballet. PHOTO: PHOTO:

The Maryinsky Ballet’s new version of Swan Lake was first

performed on January 15, 1895, at the Maryinsky Theatre Sophia Lee with the Italian scoring a great success as Odette/Odile. She was acclaimed for her technique in performing Odile’s 32 fouettes (turns in which the ballerina SOUNDTRACK balances on pointe with one foot while the other leg whips If you were to make a soundtrack for semi-circles in the air) which no Russian dancer could Swan Lake, what music would you pick? execute at the time. Since then, the dual role of Odette/ Odile has become a touchstone for greatness for every classical ballerina. Bruce Monk Bruce PHOTO: PHOTO:

RWB Company Dancers RWB Company Dancers ROMEO + JULIET STUDY GUIDE | 9 SWAN LAKE Music

Tchaikovsky was fascinated by the challenge put to him of composing music for a ballet about the legend of Odette, and the score was probably the most fulfilling of his three ballet compositions. The first production of Swan Lake using his complete score was not performed until 1877, although it is said that as early as 1871 Tchaikovsky had composed for his nephews and nieces a little ballet entitled The Lake of the Swan. Tchaikovsky’s inspiration for The Lake of the Swan came from a holiday he had spent travelling down the Rhine River and visiting the cities of Berlin and Paris – the sight of many romantic castles triggered his imagination. The ballet score for Swan Lake was composed during the winter of 1875-76. By April 4, 1876, preliminary rehearsals of several excerpts were played by a single violin at the Bolshoi Theatre School. By April 22, the ballet score was completed. Tchaikovsky’s score for Swan Lake is an important milestone in ballet history, as it revolutionized the conception of music for ballet. Its symphonic approach and colourful orchestration were in complete contrast to the conservatism and musical triviality of the time. His music is especially noted for its ability to create Réjean Brandt Photography Réjean Brandt atmosphere, as in the contrast between the romantic PHOTO: PHOTO: mood of the two lakeside scenes and the brilliance of the ballroom. This contrast in itself highlights the personalities and relationships between the Prince and both Odette and Odile. Elizabeth Lamont, Sophia Lee

DID YOU KNOW … ? • Swan Lake, Sleeping Beauty, and The • Ivanov’s chorography provided a perfect Nutcracker are all Petipa ballets. complement to composer Pyotr Ilyich Tchaikovsky’s symphonic score, bringing out • In 1894, Ivanov choreographed a very its emotional qualities to their fullest. successful staging of Act II of Swan Lake and was subsequently invited by Petipa • In the original production, Odette’s to choreograph both the Act II and Act IV persecutor had been her wicked stepmother lakeside scenes for the new production but Petipa substituted a male villain, Baron of the ballet. When contemporary von Rothbart. choreographers produce their own • There are 28 tutus in Swan Lake and each versions of Swan Lake, they leave the one took over 50 hours to sew by hand. lakeside scenes virtually intact, attesting That’s over 1400 hours of sewing! to Ivanov’s perfectly conceived original.

ROMEO + JULIET STUDY GUIDE | 10 LIKE ALL LIVE PRODUCTIONS, EACH BALLET PERFORMANCE ONLY HAPPENS ONCE.

It is a combination of the performers on stage and the audiences in front of them that make each performance unique. For this reason, it is in the audience’s best interest to be visibly and audibly attentive and appreciative – the better the audience, the better the performance on stage will be. Bruce Monk Bruce PHOTO: PHOTO: RWB Company Dancers RWB Company Dancers

LET US KNOW WHAT YOU THINK! Write to: Canada’s Royal Winnipeg Ballet 380 Graham Avenue Winnipeg, MB, Canada R3C 4K2

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