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July 13 –31, 2 016

Lincoln Center Festival lead support is provided by American Express

July 28–31 David H. Koch Theater

The National of Canada , Artistic Director The Winter’s Tale

The National Ballet of Canada Orchestra Music Director and Principal Conductor David Briskin

Approximate running time: 2 hours and 35 minutes, with two intermissions

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. The Lincoln Center Festival 2016 presentation of The Winter’s Tale is made possible in part by generous support from The LuEsther T. Mertz Charitable Trust and Jennie and Richard DeScherer. Additional support is provided by The Joelson Foundation. Endowment support for the Lincoln Center Festival 2016 presentation of The Winter’s Tale is provided by Blavatnik Family Foundation Fund for Dance. Public support for Festival 2016 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts. The National Ballet of Canada’s lead philanthropic support for The Winter’s Tale is provided by The Catherine and Maxwell Meighen Foundation, Richard M. Ivey, C.C., an anonymous friend of the National Ballet, and The Producers’ Circle. The National Ballet of Canada gratefully acknowledges the generous support of The Honourable Margaret Norrie McCain, C.C. A co-production of The National Ballet of Canada and 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 2

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Choreography Music Joby Talbot Staging Jacquelin Barrett and Anna Délicia Trévien Scenario Christopher Wheeldon and Joby Talbot Set and Costume Design Bob Crowley Lighting Design Natasha Katz Projection Design Daniel Brodie Silk Effects Design Basil Twist Repetiteurs Mandy-Jayne Richardson and Lindsay Fischer

Cast

Leontes, King of Sicilia Florizel, Prince of Bohemia Piotr Stanczyk (July 28, 30 evening), Naoya Ebe (July 28, 30 evening), Evan McKie (July 29), Guillaume Côté + Francesco Gabriele Frola (July 29, 31), (July 30 matinee), McGee Maddox (July 31) Skylar Campbell (July 30 matinee)

Hermione, Queen of Sicilia Steward, Head of King Polixenes’ Household Hannah Fischer (July 28, 30 evening), Giorgio Galli or Donald Thom Jurgita Dronina (July 29), Sonia Rodriguez + (July 30 matinee), Heather Father Shepherd Ogden (July 31) Donald Thom or Jonathan Renna

Perdita, Princess of Sicilia Brother Clown, Shepherd’s Son Jillian Vanstone (July 28, 30 evening), Dylan Tedaldi or Robert Stephen or Elena Lobsanova (July 29, 31), Rui Huang Jack Bertinshaw (July 30 matinee) Young Shepherdess Mamillius, Prince of Sicilia Jordana Daumec or Tina Pereira or Simon Adamson-de Luca * or Meghan Pugh Antony Tcherny * Ladies, Lords, Maidens, Shepherds, Paulina, Head of Queen Hermione’s Shepherdesses Artists of the Ballet Household Xiao Nan Yu (July 28, 30 evening), Banda Svetlana Lunkina (July 29, 30 matinee), Bansuri Leslie J. Allt Tanya Howard (July 31) Dulcimer Richard Moore Antigonus, Head of King Leontes’ Household Accordion Branko Džinovic Jonathan Renna (July 28, 30 evening), Percussion Kristofer Maddigan, Peter Ottmann (July 29, 30 matinee, 31) Mark Mazur + Polixenes, King of Bohemia Debut Harrison James (July 28, 30 evening), *Junior Associates of Canada’s National Ballet Brendan Saye (July 29, 31), Félix Paquet School appear by kind permission of Artistic (July 30 matinee) Director Mavis Staines, C.M.

Cast subject to change 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 3

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Synopsis The shores of Bohemia Antigonus struggles ashore to abandon the Prologue baby princess, and is pursued and killed by Two kings separated as children are reunited a bear. His ship is smashed to pieces on the in adulthood. One king, Leontes of Sicilia, rocks. A shepherd and his son Clown discover marries Hermione, giving her a beautiful the baby girl and the treasure. emerald. They have a son, Mamillius, and Act II: A hillside in Bohemia. Sixteen are blissfully happy. The other king, Polixenes years later. of Bohemia, visits the court of Leontes. He Perdita, abandoned daughter of King is delighted to be reunited with his old Leontes and Queen Hermione, has been friend and stays for nine months. By the raised by the shepherd who found her. She time of his departure, Hermione is about to dances beneath the great tree with her give birth to her second child. love, Prince Florizel, son of Polixenes, whom the other villagers know as a shepherd boy. Act I: The Court of Sicilia Villagers arrive for the annual springtime On the day of Polixenes’ departure, the festival. King Polixenes, who has heard that Bohemian court says goodbye to Sicilian his son is cavorting with a shepherdess, friends. At Hermione’s request, Polixenes sends his steward to spy on him. When the agrees to stay another week. In a flash of steward confirms his suspicions, an enraged jealousy, Leontes becomes convinced that Polixenes demands to see for himself. At his wife has been unfaithful and is carrying the festival, Perdita is to be crowned May Polixenes’ child. Jealousy turns to rage and Queen. In honor of the occasion, Father he attacks Polixenes, who flees to Bohemia. Shepherd presents her with the emerald Leontes publicly accuses Hermione of necklace he found with her on the beach. adultery and treason, then has her arrested. Polixenes and his steward arrive in disguise This so distresses Mamillius that he falls to see what Florizel is up to. On witnessing seriously ill. In prison, Hermione gives birth Florizel’s engagement to a shepherdess, to a daughter. The head of her household Polixenes reveals himself; furious with Paulina brings the newborn to Leontes, Florizel, he condemns Perdita and her family hoping to convince him that the baby is his. to death. They flee by boat to Sicilia, pursued Instead, he violently rejects the child and by Polixenes. orders Paulina’s husband Antigonus to abandon the baby in a remote place. Act III: A clifftop in Sicilia Antigonus sets sail into a storm with the King Leontes mourns by the clifftop graves baby and treasure, including the emerald of his wife and son, watched over by Paulina. once given to Hermione by Leontes. Perdita and Florizel’s ship approaches Sicilia. Hermione, brought to trial, pleads her innocence. Leontes, now quite mad, The palace in Sicilia refuses to believe her. Dazed and feverish, Perdita and Florizel appeal to Leontes to allow Mamillius enters the courtroom and, upon their union and to intercede with Polixenes witnessing the unfolding tragedy, collapses on their behalf. Leontes is taken with the and dies from distress. Seeing the death of likeness of Florizel to Polixenes and agrees her child, Hermione too collapses dead and to help the couple, who remind him of his lost is taken away. Only now does Leontes children. Polixenes arrives and Leontes tries realize the disastrous consequences of his to reason with him, but he violently handles terrible mistake. Perdita, revealing the emerald. The long-lost 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 4

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princess is miraculously alive, the two kings looked at various sources, and no—no one are reunited, and the palace celebrates wants to do the bear, I think…. Florizel and Perdita’s wedding. During the festivities, Leontes is led by Paulina to a new MM: So how are you tackling Shakespeare’s statue of Hermione. Deeply remorseful, he most famous stage direction—”Exit pur - kneels at its base. Suddenly, it comes to sued by a bear”—referring to the hapless, life—Hermione is alive and has been kept in about-to-be-eaten Antigonus? hiding by Paulina for 16 years. She embraces Leontes, and the family is reunited. CW: I can’t give that away!

MM: But why do you really think no one has previously attempted to turn this play The Winter’s Tale: into dance? A Tale of Two Kingdoms Mark Monahan talked to Christopher CW: It’s often called a “problem play,” and, Wheeldon about the creation of his second although I could be shooting myself in the foot full-length narrative ballet. by saying this, it’s actually easier to watch the story unfold than to explain it. Of course, I’ve Mark Monahan: It could be argued that worked a lot on the synopsis of the actual taking the framework of a Shakespeare play show, and have thinned out the secondary but ditching the words—as choreographers characters and some side plots. Also, this was inevitably must—is like buying a 1945 one of Shakespeare’s last plays, and according Mouton-Rothschild, tipping the contents to Nick Hytner [former director of the National down the sink, and keeping the bottle. Theatre], the writing is fairly jumbled. Nick What, then, is the irresistible lure of believes that Shakespeare had got a little bit Shakespeare for creators of dance? lazy by the time he wrote The Winter’s Tale ; it’s not as well-constructed as many of his Christopher Wheeldon: (laughs) He wrote other plays, which makes it quite complex good stories! Of course, the beauty of the to read. But Nick told me not to get caught language is what draws people to stage up in the minutiae of trying to understand them and read them, but he also wrote every word. terrific plot lines—that’s why I chose The Winter’s Tale . There are some really strong MM: That sounds like good advice. characters, and the situations are operatic in scale. Operatic situations and emotions, CW: Absolutely—but then, when you’re and good physical characters, lend themselves making a ballet, you can never get too caught very well to story ballet. up in the text. You look for clues and for poetic moments that will translate well physically. You MM: And yet, amid the panoply of past have to boil it down to story and characters. Shakespeare adaptations, no choreographer, to my knowledge, has ever attempted The MM: A vital question when adapting The Winter’s Tale . Is that correct? Winter’s Tale in any form is: comic or serious? The play is essentially three acts CW: I think so. Although it wouldn’t have of high drama, and then two infinitely lighter mattered to me if someone had adapted it acts, which can prove a jolt for audiences. before, just out of interest I went online and How have you approached this? 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 5

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CW: There are a lot of characters in The MM: I remember you saying previously that Winter’s Tale , and you have to choose you prefer to create your steps in the whose story you’re telling—in my case, it’s studio, with dancers. Leontes (King of Sicilia). It’s impossible to avoid the tragic circumstances of Act I, and CW: I do. I like working with the dancers. a further challenge of doing this story in Obviously, something like The Winter’s Tale dance is that Shakespeare solves a lot of has taken a great deal of planning, but problems by having things happen offstage— there’s been flexibility within that. Joby but you can’t do that in a ballet, unless you writes for the dramatic moments that want to rely heavily on your program notes. we’ve pinpointed in our structure, but then That said, this is a ballet where I think it’s I often veer off and move things around. It better if people watch the ballet having read can be terrifying at times, because I don’t their program, or at least have some idea of go into the room with everything planned the story. out, and so when things aren’t flowing freely, it can send me into a bit of a tailspin. MM: And how does your production progress after the dramatic first act? MM: Similarly, what’s surely harder for you here than for choreographers adapting an CW: Well, we’ve done the whole thing in established classic—but also, perhaps, three acts. Act II offers us a great opportunity potentially even more rewarding—is that for dance, more of a “pure dance” act, and the score is being built from scratch as you [composer] Joby [Talbot] and I have invented go along. our own kind of folk music and movement language. I think part of the poetry of this CW: Yes, it’s brand new. No one’s done it story is the contrasting worlds, and that’s before, no one’s ever choreographed to this where dramatic stagings often fall a bit flat. music—it’s our creation. And I do feel like But our Act II is the moment for the corps the whole production belongs to us: Joby de ballet to soar. It’s light and open and and Bob [Crowley] and me, and Natasha beautiful, and we need that. We need to [Katz] as well. breathe after the opening tragedy. MM: They were your composer/designer/ MM: Your breakthrough piece back in 2001 lighting team on Alice , weren’t they? was Polyphonia , and it was with that sort of abstraction that you made your name. But CW: Yes—we are very much a team. The Winter’s Tale is your second full- evening narrative ballet at Covent Garden in MM: And where did the idea for this show only three years, after Alice’s Adventures in first come from? Wonderland in 2011. You’re clearly getting a taste for it. CW: It actually came from a conversation I had with Nick [Hytner] around the time of CW: Yes. Yes I am, though narrative sets its Alice —I was saying I’d love to tackle own challenges, and a story can at times Shakespeare, and he asked if I’d ever feel restricting, because with the abstract thought of The Winter’s Tale . I’d already world you get to go wherever your imagination seen it live once, and remember being takes you. Also, I work very much in the bored out of my mind—it wasn’t a particularly spur of the moment—I’m not a big planner. vibrant production. But I went back and 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 6

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read it, and saw several better versions Ballet in 1969. In 1973 she was awarded both live and recorded, and, after submerging the silver medal in the women’s category myself in the story for a bit, I thought, yes, at the prestigious International Ballet why not? Competition in Moscow and, along with Frank Augustyn, received a special prize MM: Finally, the body of work you’ve for Best Pas de Deux. Subsequently, she created over the past dozen years is not embarked on an international career per - only very large, but also remarkably varied. forming with such companies as Paris Opéra Is there nevertheless something that you Ballet, ’s Le Ballet de Marseilles , would say links all your pieces, from those the , Festival Ballet, shorter abstract ones to The Winter’s Tale ? and Ballet. She devel - oped a close creative partnership with Rudolf CW: There are some artists who approach Nureyev and often performed with him. She their work from a very personal standpoint, retired from dancing following a farewell meaning that they don’t really care what tour in 1997 and took up the position of anyone else thinks. It’s about what they artist-in-residence with the company (later need to express, and I don’t think I’m like expanded to that of artistic associate). that. I think a lot about the audience—I love to make work for other people to look at. I Barry Hughson (Executive Director) joined approach each work thinking: Ok, this is the The National Ballet of Canada as executive company I’m going to make it for, this is the director in 2014. He was previously execu - kind of audience that’s going to be seeing it. tive director of which, under What do I think would work for them? his leadership, achieved several key mile - stones, including the retirement of its long- Mark Monahan is the dance critic for the term debt, completing a multi-million-dollar Telegraph (U.K.). renovation of the ballet’s headquarters, and international tours to Canada, Spain, Finland, and the U.K., as well as raising more than About the Artistic Director $60 million in contributed revenue. As an arts advocate, consultant, and educator, Mr. and Executive Director Hughson has taught and spoken in the U.S., Europe, and South America. He is the vice Karen Kain (Artistic Director) has led The chair of Dance/USA, North America’s largest National Ballet of Canada since 2005. Her service organization for professional dance. many accomplishments include returning He is a founding member of Dance/USA’s the company to the international stage, National Leadership Council for Dance and commissioning exciting new work, and has served as a mentor to emerging arts forming partnerships with leading ballet executives through the Institute for Leader - companies such as The Royal Ballet. Long ship Training. In January 2015, in partnership recognized as one of the most gifted clas - with Dance/USA, Mr. Hughson spearheaded sical dancers of her era, noted for her com - the first ever meeting of North American pelling characterizations and versatility as a and European dance leaders, bringing performer, she is one of Canada’s most together 22 administrators from nine coun - renowned and committed advocates for tries for two days of meetings at the Royal the arts. Born in Hamilton, , she Opera House Covent Garden in London. In received her training at Canada’s National Canada, Mr. Hughson is a member of the Ballet School in , joining the National board of directors of the Canadian Dance 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 7

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Assembly and serves on the steering com - Christopher Wheeldon (Choreographer) mittee for the Canadian Arts Summit. Mr. trained at The Royal Ballet School and joined Hughson began his career as a dancer with The Royal Ballet in 1991. He joined New York , where he performed City Ballet in 1993 and was promoted to classical and contemporary repertoire at the soloist in 1998. He served as NYCB’s first- Kennedy Center and on tour throughout ever artist in residence in 2000–01 and was the world. named NYCB’s first resident choreographer in July 2001. He has created productions for all the world’s major ballet companies About the Creative Team including , The Royal Ballet, , San Fran - David Briskin (Music Director and Principal cisco Ballet, , Dutch Conductor) is widely recognized as one of National Ballet, Royal Swedish Ballet, Bolshoi contemporary ballet’s most accomplished Ballet, and The National Ballet of Canada. In conductors. 2016 marks his tenth year as 2007 he founded Morphoses/The Wheeldon music director of the National Ballet of Company and was appointed an associate Canada. Prior to moving to Canada, Mr. artist for Sadler’s Wells Theatre in London. Briskin lived and worked for 23 years in For the Metropolitan Opera, he chore - New York. He served for seven years as ographed “Dance of the Hours” for La conductor with American Ballet Theatre Gioconda (2006) and Richard Eyre’s produc - and for two years as a seasonal conductor tion of Carmen (2012), as well as ballet with New York City Ballet. He was conduc - sequences for the feature film Center Stage tor of The Juilliard School’s Dance Division (2000) and Sweet Smell of Success on for 12 years. He served as artistic coordi - Broadway (2002). In 2014 he directed and nator and host of the Chamber Music Society choreographed the musical An American in of Lincoln Center’s Education Concerts and Paris , which premiered in Paris in 2014 at the has lectured at the Caramoor Summer Théâtre du Châtelet. For the Broadway Music Festival, the National Society of Arts pro duction—which premiered at the Palace and Letters, and the Conductor’s Guild. As Theatre on April 12, 2015—he won the a guest conductor Mr. Briskin appears sea - 2015 Tony Award for Best Choreography and sonally at the , Covent Outer Critics Award for Best Choreo graphy Garden, where he conducted the world and Direction. His awards also include premiere and DVD recording of The Winter’s Lincoln Center’s Martin E. Segal Award, Tale. Last season he made his debut with the American Choreography Award, a Dance The Royal Swedish Ballet and will make his Magazine Award, and a London Critic’s Circle first appearance with The Royal Danish Award for Best New Ballet for Polyphonia . Ballet in December. Mr. Briskin has also In 2013 and 2015 his productions of appeared with nearly all of the major North Cinderella and The Winter’s Tale won the American ballet companies. Equally at home . He is an Olivier with orchestral and operatic repertoire, Mr. Award winner for Aeternum and for The Briskin has conducted the Orchestra of St. Winter’s Tale and won the 2014 Leonard Luke’s, the Pittsburgh, Detroit, Baltimore, Massine Prize for Choreography. Cincinnati Pops, Indianapolis, Windsor, and Shanghai symphony orchestras, among oth - Joby Talbot (Composer) studied with ers, as well as for Calgary Opera, Manitoba Brian Elias and earned his master of music Opera, Opera Carolina, Lake George Opera, (composition) under Simon Bainbridge at and Sarasota Opera. the Guildhall School of Music and Drama. 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 8

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His diverse catalog includes a trumpet con - (Broadway), Once (Broadway, Tony Award certo for and the Royal and West End), The Glass Menagerie Liverpool Philharmonic Orchestra ( Desolation (American Rep Theater, U.S. tour and Wilderness , 2006); a 60-minute a cappella Broadway), and Disney’s The Little Mermaid choral work Path of Miracles for Nigel (Netherlands, Russia). His designs for the Short’s (2005); an eighth move - National Theatre include The History Boys ment of Holst’s for the Phil - (Broadway, Tony Award) and Carousel harmonia Orchestra ( Worlds Stars Systems (Lincoln Center, Tony Award). For the Royal Infinity , 2012); arrangements of songs by Shakespeare Company he designed Les Detroit rock duo along - Liaisons Dangereuses (Broadway), and side existing works for Wayne McGregor’s The Plantagenets (Laurence Olivier Award). (The Royal Ballet, 2006); and the He also designed The Capeman , Sweet score for Christopher Wheeldon’s full-length Smell of Success , Disney’s Aida (Tony Alice’s Adventures in Wonderland Award), Tarzan (which he also directed), Mary (2011) and The Winter’s Tale (2014). Further Poppins (Tony Award), The Year of Magical works created with Mr. Wheeldon include Thinking and Coast of Utopia (Tony Award), Fools Paradise (Morphoses, 2007) and Tide and The Magic Flute (English National Opera). Harmonic (, 2013); His film credits include Othello , Tales from and with Mr. McGregor, Genus (Paris Opera Hollywood , Suddenly Last Summer , and Ballet, 2007) and Entity (Random Dance, The Crucible (costumes). He has received 2008). He wrote his 2012 Chamber Sym - the Royal Designer for Industry Award and phony for Medhi Walerski’s Nederlands the Robert L.B. Tobin Award for Lifetime Dans Theater work Chamber, and he pre - Achievement in Theatrical Design. miered his first opera, the one-act , with the Dallas Opera in January 2015. Natasha Katz (Lighting Designer) has a strong creative relationship with The Royal Jacquelin Barrett (Staging) trained at The Ballet’s Artistic Associate Christopher Royal Ballet School, joined London Festival Wheeldon, collaborating with him and the Ballet (now ) and, over company on Tryst (2002), Alice’s Adventures a period of eight years, danced soloist and in Wonderland (2011), and The Winter’s principal roles in the company’s repertory. Tale (2014). She and Mr. Wheeldon have She was ballet mistress for Central School of also worked on Continuum (, Northern Ballet Theatre, and English Ballet, 2002), Carnival of the Animals and National Ballet, and works as a guest teacher An American in Paris (New York City Ballet, for many international professional compa - 2005), (Pennsylvania Ballet, nies and schools. From 1997 to 2008 she 2004), and the premiere of An American in taught at The Royal Ballet School, working Paris at Théâtre Châtelet (2014) and on mainly with the graduate female class. Since Broadway (2015), for which she won a 2009 she has been assisting Christopher Tony Award. Her Broadway credits include Wheeldon and staging his works around The Glass Menagerie (Tony Award), Once the world, and is associate director of the (Tony Award), Coast of Utopia: Salvage Broadway musical An American in Paris . (Tony Award), and Disney’s Aida (Tony Award) . In London she designed Skylight Bob Crowley (Set and Costume Designer) (Wyndham’s Theatre), Sister Act (Palladium), recently designed An American in Paris Buried Child (National Theatre), and Cyrano (Paris and Broadway, Tony Award), The (The Royal Opera). She has also designed Audience (West End and Broadway), Skylight extensively Off-Broadway and for American 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 9

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regional theaters. Her permanent installa - Wonderboy with Joe Goode Dance Com - tions include lighting for the audio-visual pany. He has been honored with a MacArthur shows at Niketown London and New York Genius Grant, Obie Award, Drama Desk City ; The Masquerade Village at the Rio Award, five UNIMA Awards, two Bessie Casino, Las Vegas; and Big Bang at the Awards, New York Innovative Theatre Award, Hayden Planetarium in New York City. Henry Hewes Design Award, a Guggenheim Fellowship, a United States Artists Fellow - Daniel Brodie (Projection Designer) designed ship, and Doris Duke Performing Artist the projections for Christopher Wheeldon’s Award. He is currently artistic director of The Winter’s Tale (The Royal Ballet and The HERE Art Center’s Dream Music Puppetry National Ballet of Canada) and Cinderella Program, one of the few programs in the ( and San Francisco country to develop and commission con - Ballet), and has worked regularly with pup - temporary, adult puppet works. peteer Basil Twist, both on The Winter's Tale and Cinderella , and on Mr. Twist’s Behind the Jeff Morris (Stage Manager) joined The Lid , Arias with a Twist , and . National Ballet of Canada in 1995 and has His Broadway credits include Motown the stage managed a wide range of the com - Musical, Jekyll & Hyde , and Disney’s Aladdin . pany’s unique classical and contemporary He has also created large-scale video designs repertoire, including the world premieres for Kanye West, Mariah Carey, and for the of ’s The Four Seasons , Bonnaroo Music and Arts Festival. His awards Cinderella , An Italian Straw Hat , Jean-Pierre include the United States Institute of Theatre Perreault’s The Comforts of Solitude , Alexei Tech nology’s Rising Star Award (2011). He Ratmansky’s Romeo and Juliet , and com - has also worked as a guest lecturer at Yale pany premieres of Christopher Wheeldon’s University and New , and is an Alice’s Adventures in Wonderland and artist-in-residence at the IFP Media Center in ’s Nijinsky and The Seagull . New York. He is an adjunct faculty member at the School of Toronto Dance Theatre, and a co- Basil Twist (Silk Effects Designer) is the sole director of the biannual festival dance:made American graduate from École Supérieure in Canada/fait au Canada. Nationale des Arts de la Marionnette in Charleville-Mezieres, France. Highlights of Liliane Stilwell (Stage Manager) was stage his work include the multiple award-winning manager for the Canadian Opera Company for Symphonie Fantastique, Petrushka (com - 22 years, and was part of the team that took missioned by Lincoln Center), Dogugaeshi Oedipus Rex to the Edinburgh International (The Japan Society), Behind the Lid (Silver Festival. She was production stage manager Whale Gallery), and Arias with a Twist (HERE). for Grease and stage manager for Robin Hood On Broadway he created and staged the and Cinderella at the Elgin, Dirty Dancing at puppetry in The Addams Family and for the Royal Alexandra Theatre and Hairspray at The Pee-Wee Herman Show . He made his the Princess of Wales. Other credits include Comédie-Francaise debut as designer and Tom Jones, Speed–The-Plow, Romeo and co-director of A Streetcar Named Desire . Juliet, Midsummer Night’s Dream, Big River, His work in dance includes Christopher Shear Madness, Carousel, Me and My Girl, Wheeldon’s Cinderella for Dutch National and Roar of the Greasepaint-Smell of the Ballet and San Francisco Ballet, Wheeldon’s Crowd . She was head stage coordinator for The Winter’s Tale for The Royal Ballet, the Papal Visit World Youth Day’s Way of the Darkness and Light for Pilobolus, and Cross and has stage managed several 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 10

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industrial shows in Canada and the U.S. She Rhode Island and Canada’s National Ballet joined the National Ballet in 2015. School, and joined the company in 1990. She became in 1996. Michael Lewandowski (Assistant Stage Manager) studied technical theater production Harrison James was b orn in Paraparaumu, at York University, Toronto. His work for New Zealand, trained at San Francisco The National Ballet of Canada includes The Ballet School’s Trainee Program and and the New York tour of Alice’s New Zealand School of Dance, and joined Adventures in Wonderland . Theater work the company in 2013. He became principal includes the world premiere and U.K. tour of dancer in 2016. Sponsored by Lucy White ‘da kink in my hair (Toronto Fringe Festival and Hackney Empire), The Pillowman (Canadian Elena Lobsanova was born in Moscow, Stage Theatre), and Drystreak (Grand trained at Canada’s National Ballet School, Theatre). Canadian Opera Company credits and joined the company in 2004. She include War and Peace, Death in Venice, became principal dancer in 2015. Sponsored Carmen, La bohème, Elektra, Il trovatore, by Sandra Faire & Ivan Fecan Lady Macbeth of Mtsensk, Dialogues des Carmélites, Hansel & Gretel, and Cinderella. Svetlana Lunkina was born in Moscow, For television he has been the floor director of trained at Moscow Choreographic Academy, Indspire Awards since 2005 (formally National and joined the Bolshoi Ballet in 1997. She Aboriginal Achievement Awards). joined the company as principal dancer in 2014. Sponsored by Anna McCowan- Johnson and Donald K. Johnson, O.C. About the Dancers McGee Maddox was b orn in Spartanburg, Principal Dancers South Carolina, trained at Houston Ballet’s Guillaume Côté was b orn in Lac-Saint-Jean, Ben Stevenson Academy, and joined the Québec, trained at Canada’s National Ballet company in 2009. He became principal School, joined the company in 1998, and dancer in 2014. became principal dancer in 2004. Sponsored by Emmanuelle Gattuso and Allan Slaight Evan McKie was b orn in Toronto, trained at Canada’s National Ballet School, The Kirov Jurgita Dronina was b orn in Saratov, Russia, Academy of Ballet, and the and trained at National M. K. Cˇiurlionis School, and joined in 2001. School of Art and International He joined the company as principal dancer Ballet Academy. After performing at the in 2014. Royal Swedish Ballet and Dutch National Ballet, she joined the company as principal Heather Ogden was b orn in Toronto, dancer in 2015. trained at Richmond Academy of Dance, and joined the company in 1998. She became Naoya Ebe was b orn in Tokyo, trained at principal dancer in 2005. Sponsored by Ira Canada’s National Ballet School, and joined Gluskin & Maxine Granovsky Gluskin the company in 2006. He became principal dancer in 2015. Sponsored by Gretchen Ross Sonia Rodriguez was b orn in Toronto, trained with Pedro de la Cruz at the Princess Greta Hodgkinson was b orn in Providence, Grace Academy, and joined the company in Rhode Island, trained at Festival Ballet of 1990. She became principal dancer in 2000. 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 11

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Piotr Stanczyk was b orn in Poznan, Jonathan Renna was b orn in Ottawa, Poland, trained at State Ballet School of Ontario, trained at Canada’s National Ballet Poznan and Canada’s National Ballet School, and joined the company in 1997. He School, and joined the company in 1998. became principal character artist in 2015. He became principal dancer in 2008. Rebekah Rimsay was b orn in Fort Collins, Jillian Vanstone was b orn in Nanaimo, Colorado, trained at Canada’s National Ballet British Columbia, trained at Kirkwood School, and joined the company in 1990. She Academy of the Performing Arts and became principal character artist in 2012. Canada’s National Ballet School, and joined the company in 1999. She became princi - Tomas Schramek was b orn in Bratislava, pal dancer in 2011. Sponsored by George & Czechoslovakia, trained at Slovak Folk Dance Kathy Dembroski Ensemble SLUK, and joined the company in 1969. He became principal dancer in 1973 Xiao Nan Yu was born in Dalian, China, and principal character artist in 1990. trained at Shen Yang School of Dance, Dance Academy, Canada’s National Hazaros Surmeyan was b orn in Skopje, Ballet School, and joined the company in Yugoslavia, trained at National Ballet School 1996. She became principal dancer in 2001. of Macedonia, and joined the company as principal dancer in 1966. He became principal Principal Character Artists character artist in 1986. Lorna Geddes was b orn in Waterloo, Ontario, trained with company co-founder First Soloists , and joined the company in Skylar Campbell was b orn in Laguna 1959. She became a principal character Beach, California, trained with Victor and artist in 2005. Tatiana Kasatsky, and joined the company in 2009. He became first soloist in 2015. Stephanie Hutchison was born in Kitchener, Ontario, trained at Canada’s Jordana Daumec was b orn in New York National Ballet School, and joined the com - City, trained at Studio Maestro and Canada’s pany in 1997. She became principal charac - National Ballet School, and joined the company ter artist in 2015. in 2003. She became first soloist in 2015.

Etienne Lavigne was b orn in Montréal, Francesco Gabriele Frola was b orn in Aosta, trained at L’École supérieure de danse du Italy, trained at Professione Danza Parma, The Québec, San Francisco Ballet School, and School of The , and Fomento National Ballet of Cuba, and joined the Artistico Cordobés, and joined the company company in 1997. He became principal in 2010. He became first soloist in 2015. character artist in 2015. Sponsored by Sherry and Edward Drew

Alejandra Perez-Gomez was born in Tanya Howard was born in Uitenhage, Toronto, trained at L’École supérieure de South Africa, trained at The National School danse du Québec, Princess Grace Academy, of Arts and Canada’s National Ballet School, and San Francisco Ballet School, and joined and joined the company in 1998. She the company in 1998. She became princi - became first soloist in 2007. Sponsored by pal character artist in 2013. Nancy Pencer 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 12

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Alexandra MacDonald was b orn in Calgary, and joined the company in 2012. She Alberta, trained at International School of became second soloist in 2015. Sponsored Ballet and Boston Ballet School’s Trainee by Judy & Bella Matthews Program, and joined the company in 2007. She became first soloist in 2016. Sponsored Emma Hawes was born in Delaware, Ohio, by an anonymous donor trained at BalletMet’s Dance Academy and Canada’s National Ballet School, and joined Chelsy Meiss was b orn in Melbourne, the company in 2011. She became second Australia, trained at Karen Curlis School of soloist in 2015. Sponsored by JJ Dayot & Dance, Thelma Williams School of Dance, Rick Schiralli The Victorian College of The Arts, and School, and joined the Kathryn Hosier was b orn in Champaign, company in 2008. She became first soloist Illinois, trained at Champaign-Urbana in 2015. Sponsored by Diana St. B. Weatherall Ballet Academy and Canada’s National Ballet School, and joined the company in Tina Pereira was b orn in Port of Spain, 2009. She became second soloist in Trinidad, trained at Canada’s National Ballet 2015. Sponsored by Donna Meyers & School, and joined the company in 2001. She Doug Richmond became first soloist in 2009. Sponsored by The Honourable Margaret Norrie McCain, C.C. Rui Huang was born in Shenzhen, China, trained at Shenzhen Arts School and joined Jenna Savella was b orn in Vancouver, the company in 2011. She became second trained at DanceWest, Lavrova Classical soloist in 2016. Ballet Academy, and Canada’s National Ballet School, and joined the company in Tiffany Mosher was b orn in Halifax, Nova 2004. She became first soloist in 2015. Scotia, trained at Scotia Dance Studios and Sponsored by an anonymous donor Canada’s National Ballet School, and joined the company in 1999. She became second Robert Stephen was b orn in Burlington, soloist in 2013. Ontario, trained at Canada’s National Ballet School, and joined the company in 2004. He Brent Parolin was born in Prince George, became first soloist in 2011. British Columbia, trained at Canada’s National Ballet School and John Cranko Dylan Tedaldi was b orn in Boston, trained School, and joined the company in 2014. He at Boston Ballet School and The School of became second soloist in 2015. The Hamburg Ballet, and joined the company in 2009. He became first soloist in 2015. Brendan Saye was b orn in Vancouver, trained at Canada’s National Ballet School, Second Soloists and joined the company in 2008. He Jack Bertinshaw was born in Sydney, became second soloist in 2013. Sponsored Australia, trained at Tanya Pearson Classical by Robin Robinson Coaching Academy and the Tanz Akademie Zürich, and joined the company in 2011. He Donald Thom was born in Kanata, Ontario, became second soloist in 2015. and trained at Linda Jamison School of Dance and The Royal Ballet Upper School, Hannah Fischer was b orn in New York City, and joined the company in 2015. He trained at Canada’s National Ballet School, became second soloist in 2016. 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 13

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The National Ballet of Canada Founder , C.C. Music Director Emeritus George Crum Artistic Director Karen Kain, C.C. Executive Director Barry Hughson Music Director and Principal Conductor David Briskin Artist-in-Residence , O.C. Principal Artistic Coach Magdalena Popa Artistic Director, YOU dance/Principal Ballet Master Lindsay Fischer Senior Ballet Master Peter Ottmann Senior Ballet Mistress Mandy-Jayne Richardson

PRINCIPAL DANCERS Alexandra MacDonald Antonella Martinelli Guillaume Côté Chelsy Meiss Timoteo Mock Jurgita Dronina Tina Pereira Shino Mori Naoya Ebe Jenna Savella DaeHan Na Greta Hodgkinson* Robert Stephen Jaclyn Oakley Harrison James Dylan Tedaldi Andreea Olteanu Elena Lobsanova Félix Paquet Svetlana Lunkina SECOND SOLOISTS Clare Peterson McGee Maddox Jack Bertinshaw Meghan Pugh Evan McKie Hannah Fischer Alec Roberts Heather Ogden Emma Hawes Ben Rudisin Sonia Rodriguez Kathryn Hosier Kota Sato Piotr Stanczyk Rui Huang Calley Skalnik Jillian Vanstone Tiffany Mosher Andrew Tomlinson Xiao Nan Yu Brent Parolin Laurynas Vejalis Brendan Saye Nan Wang PRINCIPAL CHARACTER Donald Thom Ethan Watts ARTISTS Lorna Geddes CORPS DE BALLET RBC APPRENTICE Stephanie Hutchison Trygve Cumpston PROGRAMME/YOU DANCE Etienne Lavigne Erika Delponte Eric Beckham Alejandra Perez-Gomez Shaila D’Onofrio Heather Capen Jonathan Renna Rhiannon Fairless Taylor Ciampi Rebekah Rimsay Giorgio Galli Jimmy Coleman Tomas Schramek Christopher Gerty Eric da Silva Hazaros Surmeyan Selene Guerrero-Trujillo Brenna Flaherty Spencer Hack Minkyung Lee FIRST SOLOISTS Jeannine Haller Larkin Miller Skylar Campbell Lise-Marie Jourdain Lauren Ostrander Jordana Daumec Soo Ah Kang Isaac Wright Francesco Gabriele Frola Larissa Khotchenkova Tanya Howard Miyoko Koyasu *Maternity/Parental Leave

Choreographic Associates Robert Binet , Guillaume Côté Guest Balanchine Répétiteur Joysanne Sidimus Stage Managers Jeff Morris , Liliane Stilwell Assistant Stage Manager Michael Lewandowski Pointe Shoe Manager/Assistant Ballet Mistress Lorna Geddes 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 14

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The National Ballet of Canada Orchestra Music Director and Principal Conductor David Briskin

FIRST VIOLINS Andrew McIntosh TRUMPETS Aaron Schwebel, Concertmaster Elaine Thompson Richard Sandals, Principal Lynn Kuo, Assistant Concertmaster Jill Vitols + Mark Dharmaratnam Anne Armstrong + Paul Widner Robert Weymouth James Aylesworth * Jennie Baccante * BASSES TROMBONES Sheldon Grabke Hans. J.F. Preuss, Principal David Archer, Principal Nancy Kershaw Jonathan Yeoh, Assistant Principal Robert Ferguson Sonia Klimasko-Leheniuk Paul Langley Dave Pell, Bass Trombone Yakov Lerner Robert Speer Jayne Maddison TUBA Wendy Rogers FLUTES Sasha Johnson, Principal Paul Zevenhuizen Leslie J. Allt, Principal Shelley Brown, Acting Principal , HARP SECOND VIOLINS Flute/Piccolo Lucie Parent, Principal Dominique Laplante, Principal Maria Pelletier, Flute/Piccolo TIMPANI Aya Miyagawa, Acting Assistant Michael Perry, Principal Principal OBOES Xiao Grabke Mark Rogers, Principal PERCUSSION Csaba Koczó * Karen Rotenberg Kristofer Maddigan, Principal Jamie Kruspe + Lesley Young, English Horn Timothy Borton + Rene London + Beverley Johnston + Ron Mah CLARINETS Tim Francom + Filip Tomov Max Christie, Principal Mark Mazur Joanna Zabrowarna Gary Kidd, Bass Clarinet Andrew Rasmus + Emily Marlow, E ♭Clarinet VIOLAS KEYBOARDS Angela Rudden, Principal BASSOONS Edward Connell, Celeste Joshua Greenlaw, Assistant Stephen Mosher, Principal Andrei Streliaev, Piano Principal Gerald Robinson Valerie Kuinka Elizabeth Gowen, Contra-Bassoon ORCHESTRA PERSONNEL Johann Lotter MANAGER AND Nicholaos Papadakis + HORNS MUSIC ADMINISTRATOR Beverley Spotton Gary Pattison, Principal * Raymond Tizzard Larry Toman * Scott Wevers, Acting Principal Jessie Brooks + LIBRARIAN CELLOS Vincent Barbee * Lucie Parent Maurizio Baccante, Principal * Derek Conrod * Marianne Pack, Acting Principal Gabriel Radford + *On Leave of Absence Olga Laktionova +Additional Musician

The National Ballet of Canada Board of Directors (as of December 3, 2015) David W. Binet, chair Karen Kain, C.C., ex Jessica Ray Judith Cohen Gail Appel officio Sonia Rodriguez, ex Judi Conacher John Bailey Krista Kerr officio Missy Crosbie Susanne Boyce Judith Lawrie Gretchen Ross Jeanie Davis Jane Darville Janet Lewell Victor R. Royce Sherry Taylor Drew Stephen Delaney Philip Lieberman John B. Simcoe James Fleck, C.C. Marlene DelZotto Jerry Lozinski Mavis Staines, C.M., ex Kevin Garland The Honourable Nicole David Macdonald officio William Harris Eaton, Senator Ryan McNally Daniel F. Sullivan William Herridge, Q.C. Bronwen Evans Donna Meyers Noreen Taylor Donald K. Johnson, O.C. Sandra Faire Linda O’Leary Cornell C.V. Wright Paul O’Donoghue Greta Hodgkinson, ex David Pell, ex officio Rose Patten officio Nancy Pencer Honorary Board Aaron Regent Nancy Holland Jack Petch, ex officio (as of October 29, 2015) Robin Robinson Barry Hughson, ex officio Lynda Prince Avie Bennett, C.C., Susan Scace Robbie J. Pryde O.Ont. 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 15

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About The National Ballet of Canada About The National Ballet of Canada The National Ballet was founded in 1951 by Orchestra Celia Franca. A company of 70 dancers The National Ballet of Canada has its own full with its own orchestra, the National Ballet Orchestra with more than 60 members. The has been led by Artistic Director Karen Orchestra has performed in each of the Kain, one of the greatest ballerinas of her National Ballet’s seasons and is led by generation, since 2005. Renowned for its Music Director and Principal Conductor David diverse repertoire, the company performs Briskin. The company’s first music director traditional full-length classics, embraces was George Crum—who, along with founder contemporary work, and encourages the Celia Franca, was a pioneer of the company— creation of new ballets as well as the holding the position from the company’s development of Canadian choreogra - inception in 1951 to 1984, when he was phers. The company’s repertoire includes appointed music director emeritus. The works by Sir , George Orchestra was led by Ermanno Florio from Balanchine, John Cranko, , 1985 to 1990, and Ormsby Wilkins was music Glen Tetley, John Neumeier, William director and principal conductor from 1990 to Forsythe, James Kudelka, Ji rˇ í Kylián, 2006. The National Ballet of Canada Orchestra Wayne McGregor, , has toured with the company in Canada, the Christopher Wheeldon, , and U.S., and Europe. The Orchestra has received Aszure Barton. The National Ballet has acclaim from audiences and critics alike and toured Canada, the U.S., and internation - has recorded two CDs, Michael Torke’s The ally, with recent appearances at Sadler’s Contract (The Pied Piper) and An Italian Straw Wells in London and The Music Center in Hat . The Orchestra made its concert debut at Los Angeles. Toronto’s Koerner Hall on April 3, 2012, in cel - ebration of the company’s 60th anniversary.

The National Ballet of Canada Keyboards Edward Connell, Assistant Stage Manager Tour Staff Andrei Streliaev Michael Lewandowski Artistic Director Karen Kain Lighting Coordinator Jeff Logue Executive Director Barry Hughson Dancer Wellness Master Carpenter John Alexander Music Director and Principal Company Athletic Therapist Paul Head Electrician Stephen Conductor David Briskin Papoutsakis O’Connor Artistic Administrator Gerard Company Massage Therapist Property Master Michael Ellenton Roxburgh Ron Mulesa Head of Sound Al Merson Artistic Director, YOU Video Technician Michael Farkas dance/Principal Ballet Master Communications Assistant Carpenter Paul Lindsay Fischer Director of Communications McNamara Senior Ballet Master Peter Julia Drake Assistant Carpenter/Flyman Ottmann Senior Associate Director of Geoff Kay Senior Ballet Mistress Mandy- Communications Belinda Bale Assistant Electricians Ron Jayne Richardson Senior Communications Gorveatt, Chris Brooks Executive Assistant to the Manager Catherine Chang Wardrobe Supervisor Marjory Artistic Director/Administrative Fielding Manager Jennifer Bennett Development Wardrobe Coordinator Barbara Darbyshire Director of Development Diana de Kat Company Management Reitberger Assistant Wardrobe Coordinator Assistant Sarita Dotan Manager, Special Events Grant Heaps Rebecca Hodge Wig/Makeup Supervisor Charles Canada’s National Ballet School Seminerio Residence Counsellor/Chaperone Production Footwear Assistant Leslie Brown Carrie Ann Paquet Production Director James Guest Chaperone Maureen Thornley Callaghan Stage Managers Jeff Morris, Liliane Stilwell 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 16

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The National Ballet of Canada par ticular emphasis on showcasing contem - Acknowledgements porary artistic viewpoints and multidisciplinary for the Arts works that challenge the boundaries of tradi - We acknowledge the support of the tional performance. For more information, Canada Council for the Arts, which last visit LincolnCenterFestival.org. year invested $153 million to bring the arts to Canadians across the country. Lincoln Center for the Performing Arts Government of Canada (LCPA) serves three primary roles: presenter Ontario Arts Council of artistic programming, national leader in arts City of Toronto and education and community engagement, The Volunteer Committee, The National Ballet and manager of the Lincoln Center campus. A of Canada presenter of more than 3,000 free and tick - eted events, performances, tours, and Additional Tour Partners for The National educational activities annually, LCPA offers Ballet of Canada: Gail & Mark Appel, John 16 series, festivals, and programs, includ - & Claudine Bailey, Judi Conacher, Jeanie ing American Songbook, Avery Fisher Davis, Richard M. Ivey, C.C., Krista Kerr, Career Grants and Artist program, David Joan & Jerry Lozinski, Julie Medland, and Rubenstein Atrium programming, Great one anonymous donor. Performers, Legends at Lincoln Center: The Performing Arts Hall of Fame, Lincoln Center American Friends of The National Ballet at the Movies, Lincoln Center Emerging of Canada, Inc. Artist Awards, Lincoln Center Festival, President Mary Cirillo-Goldberg Lincoln Center Out of Doors, Lincoln Treasurer Amy C. Spina Center Vera List Art Project, Midsummer Secretary Nicole R. Tzetzo Night Swing, Mostly Mozart Festival, White Light Festival, the Emmy Award–winning Live The National Ballet of Canada operates under From Lincoln Center, which airs nationally on the jurisdiction of the Canadian Actors’ Equity PBS, and Lincoln Center Education, which is Association. The National Ballet of Canada is celebrating 40 years enriching the lives of a member of the Canadian Dance Assembly students, educators, and lifelong learners. and Dance/USA. As manager of the Lincoln Center campus, LCPA provides support and services for Scenery, properties, costumes, and wigs the Lincoln Center complex and the 11 res - executed by the Royal Opera House (U.K.) ident organizations: The Chamber Music Production Department. Society of Lincoln Center, Film Society of Lincoln Center, Jazz at Lincoln Center, The Lincoln Center Festival , now in its 21st sea - Juilliard School, Lincoln Center Theater, son, has received worldwide attention for The Metropolitan Opera, New York City presenting some of the broadest and most Ballet, New York Philharmonic, New York original performing arts programs in Lincoln Public Library for the Performing Arts, Center’s history. The festival has presented School of American Ballet, and Lincoln 1,422 performances of opera, music, dance, Center for the Per forming Arts. For more theater, and interdisciplinary forms by interna - information, visit LincolnCenter.org. tionally acclaimed artists from more than 50 countries. To date, the festival has commis - Acknowledgements sioned 43 new works and offered 143 world, Joby Talbot’s music b y arrangement with G. U.S., and New York premieres. It places Schirmer Inc., publisher and copyright owner.