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Performancethe National Ballet of Canada Summer 2014 PerformanceThe National Ballet of Canada Summer 2014 Sonia Rodriguez. Cinderella Photo by Christopher Wahi. Contents 4 Cinderella: From Ashton to Kudelka A Fairy Tale Reflects its Time 8 The National Ballet of Canada Takes Manhattan with Alice’s Adventures in Wonderland centre Today’s Performance 12 Dancer Biographies Second Soloist Chelsy Meiss. Photo by Sian RIchards. PerformanceThe National Ballet of Canada Winter 2014 National Ballet Editors: Julia Drake and Belinda Bale RJ Performance Media Inc.: President and Publisher: Joe Marino CEO: Frank Barbosa Finance: Gina Zicari Secretary Treasurer: Rajee Muthuraman Art Director /Design: Jan Haringa Graphic Artist: Glenda Moniz National Account Directors: Danny Antunes, Gary Bell , Tom Marino The National Ballet of Canada’s edition of Performance magazine is published quarterly by RJ Performance Media Inc., 2724 Coventry Road, Oakville, Ontario, L6H 6R1. All rights reserved. Reproduction in whole or in part without written consent is prohibited. Contents copyright © Performance Inc. Subscriptions available by contacting publisher. Direct all advertising enquiries to 2724 Coventry Road, Oakville, Ontario, L6H 6R1 or Telephone 905-829-3900, Ext. 222, Fax 905-829-3901. Cinderella From Ashton to Kudelka A Fairy Tale Reflects its Time by John Reardon Page 4 national.ballet.ca C hildhood’s eternal parable about deliverance from the shackles of familial injustice and beauty and goodness rising from the ashes, Cinderella has enthralled its readers and worked its way under the skin of our culture in a way few fairy tales have. Like all the most potent of childhood fables, it works on us both consciously and unconsciously, allowing us to rationally sort out and process its fantastic and realistic elements, absorbing and appreciating its twin appeal of satire and romance, but touching (left) Sonia Rodriguez. as well the hidden terrain of our pre-theoretical selves. Photo by Christopher Wahl. That most of us encounter the story as children is what gives (above) Guillaume Côté. it its longevity and makes it a lifelong touchstone. Even when Photo by Cylla von Tiedemann. appropriated and heavily distorted by, say, the commercial film industry or re-interpreted in a variety of other media, once it has entered the lexicon of our earliest cultural references, it stays with us as an enduring narrative of hope and the possibility of a better condition of life. It is no wonder, then, with that universal sense of yearning at its heart (and with its inescapable intimations of revenge, too) that versions of the Cinderella story can be found in many cul- tures around the world or that so many artists in different medi- ums have been drawn to it as a subject. In ballet, the Charles Perrault fairy tale has had a rich and long history of interpreta- tion, dating back to 1813. Landmark versions have included an 1893 adaptation staged by the Mariinsky Theatre, featuring choreography by Ivanov and Petipa to music by Boris Fitihof- Schell, and a Michel Fokine staging of the story for the original Ballets Russes in 1938. But with Sergei Prokofiev’s score for the story, commissioned by the Kirov Ballet in 1940 and completed in 1944, Cinderella Page 5 Lorna Geddes. achieved an entirely new level of success and popularity. Photo by Composed in the Soviet Union amid the calamity and desperation Aleksandar Antonijevic. of the Second World War, the ballet, first staged at the Bolshoi Theatre in 1945, became a Politburo-pleasing parable not just of Russia’s victory in the conflict, but also of the purity and nobility of spirit of the Russian people and Soviet ideology. Transplanted to England in 1948, Prokofiev’s Cinderella would find fertile soil at Sadler’s Wells Ballet. Although not the first English attempt at a dance version of the story (a one act adaptation, choreographed by Andrée Howard to music by Carl Maria von Weber, had been staged for Ballet Rambert in London in 1935) it would be Sir Frederick Ashton’s first full-length work and would come to be seen as a landmark work in British ballet. Freed from its original political context, Ashton’s Cinderella introduced more broadly comic elements, particularly in the form of pantomime-inspired en travesti roles for the stepsisters, eliminated the third-act divertissement section entirely and presented to its war-weary audience a timely and resonant story of a beleaguered populace emerging from years of austerity to embrace a richer future. But Ashton’s version of the ballet wasn’t a purely localized achievement. With minor variations it found homes in companies around the world and became the standard conception for the ballet in the west for the next several decades, including the one staged and re-choreographed by Celia Franca for the National Ballet in 1968. Ben Stevenson’s 1970 version for National Ballet of Washington and a less conventional adaptation by Mikhail Baryshnikov and Peter Anastos for American Ballet Theatre in 1983 are among the many other attempts to engage with the score and story over the years. Page 6 national.ballet.ca Few choreographers in the west, however, have challenged the dominance of the Ashton aesthetic with the panache and vigour of James Kudelka in his witty, imaginative and affecting re-imagining of the ballet, created for The National Ballet of Canada in 2004. Kudelka has made key alterations in his approach. In addition to jettisoning the dated and hackneyed drag element, Kudelka also restores the third-act divertissement section, which features the Prince travelling throughout the world hoping to find the woman whose foot will fit the glass slipper. But Kudelka uses the divertissement not, as it might traditionally be employed, simply as a bit of exotic entertainment. While never shying away from the pleasures of pure dancing that it affords, he makes the Prince’s journey through the world function as a form of sentimental education, opening his eyes to circumstances and people his sheltered life has kept from him. Giving the Prince this crucial piece of character development prepares the ground for another of the ballet’s important changes. Rather than have the story pivot on the conventional rags-to-riches theme, with its implicit endorsement of – among other things – an awkward and outmoded gender dynamic, the Prince and Cinderella meet in the end as equals, each having escaped the prisons of their respective circumstances to find a new way of life together. The impact of Kudelka’s revisions is to give the story a more convincing dramatic logic and to allow it to speak more genuinely to a contemporary audience. While sacrificing nothing of the ballet’s inherent comedy or romance, the National Ballet’s version reconceptualizes both of these elements by heightening the emphasis on character growth and the opposition of an innocent natural world to a fallen and debauched civilization. Re-invigorated at both these levels, and supported magnificently by David Boechler’s luminous art-deco designs, Kudelka’s Cinderella returns the story – and the ballet – to its origins: a work of lavish and generous entertainment that makes you think. (left) Rebekah Rimsay and Tanya Howard. Photo by Aleksandar Antonijevic. (above) Sonia Rodriguez and Artists of the Ballet. Photo by Cylla von Tiedemann. Page 7 From a Bear to the Sugar Plum Fairy The National Ballet of Canada Takes Manhattan with Alice’s Adventures in Wonderland by Caroline Dickie Co-Presenting Sponsors L incoln Center is one of the most recognizable arts venues in the world, with its iconic reflecting pool, fountain and plaza set between Columbus and Amsterdam Avenues in the heart of Manhattan’s Upper West Side. First opened in the 1960s, the complex recently underwent a $1.2 billion renovation to expand and modernize its facilities. Today the Center lives up to its reputation as the “world’s largest cultural complex” by serving an astonishing 11 resident organizations, among them The Julliard School, The Metropolitan Opera, New York City Ballet, New York Philharmonic, New York Library for the Performing Arts and School of American Ballet. Lincoln Center is also a leading presenter of the best arts programming from around the world – including, this September, performances of Alice’s Adventures in Wonderland by The National Ballet of Canada. The production that first brought the National Ballet to Lincoln Center over 40 years ago was Rudolph Nureyev’s The Sleeping Beauty, which, like Alice’s Adventures in Wonderland, Page 8 national.ballet.ca captured the world’s attention with is glorious sets and choreography, setting-off an historic period of international touring. Artistic Director Karen Kain danced with Nureyev in that all-important performance at the Metropolitan Opera House in 1973, and she is the first to acknowledge the invaluable opportunities for artistic development that touring affords. She has made it her mission to generate similar experiences for the company today, strategically expanding the repertoire with the work of leading choreographers like Christopher Wheeldon and Alexei Ratmansky. Increasingly, these are the ballets that the world wants to see. In the past five years alone, the National Ballet has received touring offers from prestigious venues in Los Angeles, Washington, D.C., London, England and now New York City. Together with The Joyce Theater Foundation and co-presenting sponsors Thomson Reuters and TD Bank Group, the National Ballet will present seven performances of Alice’s Adventures in Wonderland at Lincoln Center this fall. A co-production with The Royal Ballet, the ballet has been a triumph artistically and at the box-office. Every performance at the North American premiere in 2011 was sold-out. With Alice’s Adventures in Wonderland, Mr. Wheeldon sealed his reputation as one of very few choreographers today who can (opposite page) stage new, full-length story ballets with such a high degree Greta Hodgkinson.
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