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Home , Ballets Russes, Celia Franca, Cinderella (Ashton), Cinderella (Prokofiev), Divertissement

PerformanceThe National of Canada Summer 2014

Sonia Rodriguez. 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 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, , 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 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 , featuring choreography by Ivanov and Petipa to music by Boris Fitihof- Schell, and a staging of the story for the original Russes in 1938. But with ’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 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 version of the story (a one act adaptation, choreographed by Andrée Howard to music by , had been staged for Ballet Rambert in in 1935) it would be Sir ’s first full-length work and would come to be seen as a landmark work in . Freed from its original political context, Ashton’s Cinderella introduced more broadly comic elements, particularly in the form of pantomime-inspired en 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 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, 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 , , 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 , 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 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 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. of success. The ballet enlivens Lewis Carroll’s beloved stories Photo by Christopher Wahl. with deft choreography, a new score by Joby Talbot (performed (below) Jillian Vanstone and by a 64-piece orchestra), and awe-inducing sets and costumes Aleksandar Antonijevic. by Bob Crowley, to irresistible effect. “Alice’s Adventures in Photo by Cylla von Tiedemann.

Page 9 Tanya Howard. Photo by Bruce Zinger. Wonderland is a big, exuberant, highly theatrical ballet full of brilliant dance and phenomenal stage craft,” confirms Karen Kain. “I think New Yorkers will love it.” A ballet of this size and scope requires considerable talent onstage and off, particularly as the company prepares to transport the production in its entirety from to Manhattan. Alice’s Adventures in Wonderland involves 112 dancers, artistic staff and crew members, and requires nine trucks to transport the 32 crates of set pieces, props, lighting, footwear, 193 costumes and 534 pointe shoes to Lincoln Center. There are also shoes to be dyed and hotels to book, among many other considerations. The National Ballet has launched a special fundraising campaign to help cover the costs of touring to New York by inviting donors to sponsor everything from dancer airfares to baggage fees and ground transportation. On arrival, the National Ballet will have the distinction of performing in the David H. Koch Theater, formerly The New York State Theater or, as it is commonly known, “the house that Balanchine built” for its long association with New York City Ballet. Renovated and renamed in 2008 for its benefactor, the philanthropist David H. Koch, the theatre not only hosts the best ballet companies in the world, but is also home to several pieces in Lincoln Center’s extensive collection of . Visitors can expect to find works by Jasper Johns, Lee Bontecou and Reuben Nakian in addition to the stunning performances onstage. It would be difficult to imagine a more fitting venue You can help get us there for Alice’s Adventures of Wonderland, which is itself a work of national.ballet.ca/ high style and visual appeal, and an important contribution to newyork the cultural landscape that Lincoln Center strives to present. 

Page 10 national.ballet.ca Dancer Biographies

Aleksandar Antonijevic Svetlana Lunkina Sonia Rodriguez Principal Guest Artist Principal Dancer Born: Pozarevac, Yugoslavia Born: Moscow, Russia Born: Toronto, Ontario Trained: National Ballet Trained: Moscow Trained: Princess Grace School (Yugoslavia) Choreographic Academy Academy (Monaco) Joined National Ballet: 1991 Joined : 1997 Joined National Ballet: 1990 Promoted to Principal Principal Dancer: 2005 – Promoted to Principal Dancer: 1995 2012 Dancer: 2000

Guillaume Côté Evan McKie Piotr Stanczyk Principal Dancer Principal Guest Artist Principal Dancer Born: Lac-Saint-Jean, Québec Born: Toronto, Ontario Born: Poznan, Poland Trained: Canada’s National Trained: Canada's National Trained: State Ballet School Ballet School Ballet School, Kirov Academy (Poland), Canada’s National Joined National Ballet: 1999 and John Cranko School Ballet School Promoted to Principal Ballet Joined National Ballet: 1998 Dancer: 2004 Principal Dancer with Promoted to Principal Sponsored by Emmanuelle Gattuso Stuttgart : 2008 and Allan Slaight Sponsored by The Frank Gerstein Charitable Foundation

Greta Hodgkinson Heather Ogden Jillian Vanstone Principal Dancer Principal Dancer Principal Dancer Born: Providence, Born: Toronto, Ontario Born: Nanaimo, British Rhode Island Trained: The Richmond Columbia Trained: Canada’s National Academy of Dance Trained: Kirkwood Academy Ballet School Joined National Ballet: 1998 (Nanaimo), Canada’s National Joined National Ballet: 1990 Promoted to Principal Ballet School Promoted to Principal Dancer: 2005 Joined National Ballet: 1999 Dancer: 1996 Sponsored by Ira Gluskin & Promoted to Principal Maxine Granovsky Gluskin Dancer: 2011

Page 12 national.ballet.ca Ballet Notes Cinderella June 4 – 15, 2014

Sonia Rodriguez. Photo by Christopher Wahl. Orchestra Violin 1 Jeremy Mastrangelo, Guest Max Christie, Principal Concertmaster Colleen Cook+ Lynn Kuo, Assistant Gary Kidd*, Bass Concertmaster Emily Marlow* Anne Armstrong+ Mara Plotkin+ James Aylesworth Jennie Baccante Stephen Mosher, Principal Sheldon Grabke* Jerry Robinson* Nancy Kershaw Celia Franca, C.C., Founder Elizabeth Gowen, Sonia Klimasko-Leheniuk Contra- George Crum, Music Director Emeritus Yakov Lerner Horns Karen Kain, C.C. Barry Hughson Jayne Maddison Aya Miyagawa Gary Pattison, Principal Artistic Director Executive Director Wendy Rogers Vincent Barbee* David Briskin Rex Harrington, O.C. Paul Zevenhuizen Derek Conrod Music Director and Artist-in-Residence Diane Doig+ Violin 2 Principal Conductor Christine Passmore+ Dominique Laplante, Scott Wevers Magdalena Popa Lindsay Fischer Principal Second Violin Principal Artistic Coach Artistic Director, Aaron Schwebel, Assistant YOU dance / Principal Richard Sandals, Principal Peter Ottmann Mandy-Jayne Bethany Bergman+ Brendan Cassin+ Senior Ballet Master Richardson Xiao Grabke Mark Dharmaratnam Senior Ballet Mistress Hiroko Kagawa+ Robert Weymouth* Csaba Koczó Aleksandar Antonijevic, Guillaume Côté, + Ron Mah Matthew Golding , Greta Hodgkinson, Evan McKie*, David Archer, Principal Filip Tomov Svetlana Lunkina*, Heather Ogden, Sonia Rodriguez, Robert Ferguson Sonia Vizante+ Piotr Stanczyk, Jillian Vanstone, Xiao Nan Yu Dave Pell, Bass Kevin D. Bowles, Lorna Geddes, Joanna Zabrowarna Alejandra Perez-Gomez, Rebekah Rimsay, Violas Sasha Johnson, Principal Tomas Schramek, Hazaros Surmeyan Angela Rudden, Principal Naoya Ebe, Keiichi Hirano, Tanya Howard, Josh Greenlaw Harp Stephanie Hutchison, Etienne Lavigne, Assistant Principal Lucie Parent, Principal Patrick Lavoie, Elena Lobsanova, McGee Maddox, Valerie Kuinka Stacey Shiori Minagawa, Tina Pereira, Tympani Johann Lotter Jonathan Renna, Robert Stephen Michael Perry, Principal Rory McLeod+ Skylar Campbell, Jordana Daumec, Beverley Spotton Percussion Alexandra MacDonald, Chelsy Meiss, Larry Toman Tim Francom, Principal Tiffany Mosher, Jenna Savella, Brendan Saye, Kristofer Maddigan Christopher Stalzer, Dylan Tedaldi Cellos Mark Mazur James Applewhite, Jack Bertinshaw, Trygve Cumpston, Maurizio Baccante, Shaila D’Onofrio, Krista Dowson, Nadine Drouin, Jackson Dwyer, Principal /Celeste Hannah Fischer, Francesco Gabriele Frola, Giorgio Galli, Marianne Pack Edward Connell Selene Guerrero-Trujillo, Emma Hawes, Juri Hiraoka, + Andrei Streliaev Ji Min Hong, Kathryn Hosier, Rui Huang, Harrison James, Peter Cosbey Lise-Marie Jourdain, Larissa Khotchenkova, Miyoko Koyasu, Olga Laktionova Orchestra Personnel James Leja, Elizabeth Marrable, Shino Mori, Jaclyn Oakley, Elaine Thompson Manager and Music Andreea Olteanu, Asiel Rivero, Joseph Steinauer, Nan Wang, Andrew McIntosh Aarik Wells, Sarah Elena Wolff Administrator Paul Widner Raymond Tizzard RBC Apprentice Programme / YOU dance: Rhiannon Fairless, Liana Macera, Elenora Morris, Felix Paquet, Basses Librarian Meghan Pugh, Ben Rudisin, Kota Sato. Martin ten Kortenaar, Hans. J.F. Preuss, Principal Lucie Parent Mimi Tompkins, Ethan Watts Tom Hazlitt+ Assistant to the Music Robert Binet Lorna Geddes Paul Langley Robert Speer Director Manager / Guillaume Côté Jean Verch Choeographic Associates Assistant Ballet Mistress Cary Takagaki* * On Leave of Absence Ernest Abugov Joysanne Sidimus + Leslie J. Allt, Principal Additional Musician Jeff Morris Guest Balanchine Stage Managers Répétiteur Shelley Brown, Piccolo Maria Pelletier Tiffany Fraser Peter Sherk Assistant Stage Manager Stage Manager, YOU dance Mark Rogers, Principal * Principal Guest Artist Karen Rotenberg + Guest Artist Lesley Young, English Horn  Maternity leave

Page 2 national.ballet.ca Wednesday, June 4 at 7:30 pm Thursday, June 5 at 2:00 pm & 7:30 pm Friday, June 6 at 7:30 pm Saturday, June 7 at 2:00 pm and 7:30 pm Sunday, June 8 at 2:00 pm Friday, June 13 at 7:30 pm Saturday, June 14 at 2:00 pm and 7:30 pm Sunday, June 15 at 2:00 pm

Conductors: David Briskin, Music Director and Principal Conductor (June 4, 5 mat, 6, 7 mat, 8, 14) Martin West, Guest Conductor (June 5 eve, 7 eve, 13, 15) Cinderella Choreography: James Kudelka, O.C. Music: Sergei Prokofiev Set and Costume Design: David Boechler Lighting Design: Christopher Dennis Répétiteurs: Mandy-Jayne Richardson, Magdalena Popa, Peter Ottmann, Lindsay Fischer and Rex Harrington

Premiere: The National Ballet of Canada, May 8, 2004, Toronto

Cinderella is a gift from The Volunteer Committee, The National Ballet of Canada.

For Celia, with my deepest gratitude. JK

Sonia Rodriguez. Photo by Bruce Zinger.

Page 3 The Cast

Cinderella Another Hired Escort Sonia Rodriguez (June 4, 6, 8, 14 eve) Piotr Stanczyk or Keiichi Hirano or Jillian Vanstone* (June 5 mat, 7 mat, 14 mat) Patrick Lavoie Xiao Nan Yu (June 5 eve, 7 eve, 13, 15) Her Lorna Geddes Guillaume Côté (June 4, 6, 8, 14 eve) Naoya Ebe* (June 5 mat, 7 mat, 14 mat) The Garden McGee Maddox (June 5 eve, 7 eve, 13, 15) Blossom Act I Stacey Shiori Minagawa (June 4, 6, 8, 14 eve) The Kitchen Shino Mori (June 5 mat, 7 mat, 14 mat) Jordana Daumec (June 5 eve, 7 eve, 13, 15) Groom, Justice of the Peace, Father of the Bride, Ring Bearer, Bridesmaids Petal Artists of the Ballet Elena Lobsanova (June 4, 6, 8, 14 eve) Chelsy Meiss (June 5 mat, 7 mat, 14 mat) Her Stepmother Hannah Fischer* (June 5 eve, 7 eve, 13, 15) Alejandra Perez-Gomez* (June 4, 6, 8, 14 eve) Rebekah Rimsay (June 5, 7, 13, 14 mat, 15) Moss Tina Pereira (June 4, 6, 8, 14 eve) Her Stepsister Jordana Daumec (June 5 mat, 7 mat, 14 mat) Tanya Howard (June 4, 6, 8, 14 eve) Jenna Savella (June 5 eve, 7 eve, 13, 15) Stephanie Hutchison (June 5 mat, 7 mat, 14 mat) Twig Krista Dowson (June 5 eve, 7 eve) Sarah Elena Wolff (June 4, 6, 8, 14 eve) Alejandra Perez-Gomez* (June 13, 15) Tanya Howard (June 5 mat, 7 mat, 14 mat) Kathryn Hosier* (June 5 eve, 7 eve, 13, 15) Her Other Stepsister Rebekah Rimsay (June 4, 6, 8, 14 eve) Garden Creatures Tiffany Mosher (June 5 mat, 7 mat, 14 mat) Artists of the Ballet Shaila D’Onofrio* (June 5 eve, 7 eve, 13, 15) Pumpkins A Jeweler Artists of the Ballet Trygve Cumpston or Jackson Dwyer INTERMISSION A Dressmaker Keiichi Hirano or James Leja Act II The Ball His Assistant Tomas Schramek A Photo Journalist Kevin D. Bowles A Makeup Artist Shaila D’Onofrio or Elizabeth Marrable Four Officers Nan Wang, Giorgio Galli, Trygve Cumpston, A Dancing Instructor Keiichi Hirano or Dylan Tedaldi, Francesco Gabriele Frola or Giorgio Galli Skylar Campbell, Robert Stephen, Francesco Gabriele Frola A Hired Escort Etienne Lavigne or Jonathan Renna or Bachelors and Ladies James Leja Artists of the Ballet

INTERMISSION

Page 4 national.ballet.ca Act III The Wedding The Search Justice of the Peace and Wedding Guests A Shoe Salesman Artists of the Ballet Tomas Schramek *Debuts The Shoemakers All casting is subject to change. Jonathan Renna or Jack Bertinshaw, James Leja or Christopher Stalzer, Robert Stephen or Joseph Steinauer Running Time ACT I 34 minutes A Customer Intermission 20 minutes Tiffany Mosher or Jenna Savella or ACT II 37 minutes Andreea Olteanu Intermission 20 minutes ACT III 32 minutes Ladies With (or Without) Shoes Artists of the Ballet The performance will run approximately 2 hours.

Synopsis

Act I Not so very long ago, in a suburb of a rich themselves in the most glamorous and and fashionable capital city, a young orphaned fashionable light, they hired the most expensive woman called Cinderella lived with her and well-trained dressmakers, makeup artists stepmother and two ambitious stepsisters. and escorts from the very best agency in the Cinderella tried to keep house for this small city – the best agency they could afford. family but no matter how hard she worked, Once the Stepsisters were on their way her stepsisters flew through the house like and Cinderella had settled in at the hearth, whirlwinds and turned any order she might something very magical indeed happened create into chaos. Whenever she had a chance (unless, of course, Cinderella was only dreaming). to rest, which was not very often, Cinderella Her Fairy Godmother appeared and summoned would sit and dream by the hearth or go into the creatures of the garden – Blossom, her kitchen garden, for she always felt happiest Petal, Moss and Twig – as well as the moths, amongst the vegetables and herbs. butterflies and other insects who so One day, the Prince’s advisors decided mysteriously transform themselves from one to have a ball for all the well-born, well-to-do shape to another as the seasons change. young people of the land so the Prince could Each creature brought something for choose a bride. Cinderella’s stepsisters were Cinderella to wear to the ball but her Fairy accomplished social climbers and somehow Godmother warned Cinderella to return home they managed to wrangle invitations for them- by midnight lest something dreadful happen selves. Because they wanted to present to her. It’s not safe in palaces late at night.

Page 5 Act II Act III In the palace, the Prince was very uncomfortable. The Prince and his aides searched all around He was depressed by the chic young women the world to find the woman who had lost that vying for his attention, seeking fame and riches. slipper. They found countries where women He felt like a complete outsider even at his wore wooden shoes, boots with blades for own party. All the Prince really wanted was gliding on the ice, long thin wooden slats for a quiet life with a woman he could love deeply sliding over snow, riding boots and every kind and he saw no such person until Cinderella of footwear you can imagine, but never did and her attendants arrived. The Prince and they find a woman who could wear the slipper Cinderella instantly fell in love but all too soon that the Prince’s ideal woman had lost. it was midnight. Meanwhile, Cinderella was back home in As the clock struck 12 the courtiers the suburbs where the kitchen itself had been underwent a horrible transformation into miraculously transformed into a place of order Pumpkinheads, attacking the terrified and her stepsisters didn’t seem to be such a Cinderella. In her desperate attempts to nuisance anymore. But all she had to remind escape, Cinderella lost all of her finery except her of the ball was that slipper. She couldn’t one of her beautiful new slippers. The other bear to take it off but, not wanting to draw slipper was all that the Prince could find attention to it, she covered it up with a sock. to remind him of the woman he had come Finally it occurred to one of the Prince’s to love so suddenly. aides to check out the suburbs of the capital city just in case they’d missed anyone. And there, in his own back yard, and quite literally in Cinderella’s own back garden, the Prince and Cinderella found each other again. They had a fairly fashionable afternoon wedding – even Princes can’t completely ignore the conventions – but then, instead of a lavish honeymoon abroad, the Prince and Cinderella did what each of them would love best for the rest of their lives, they retired quietly to the garden where they would always find peace and love in making their garden grow.

– Penelope Reed Doob

Sonia Rodriguez. Photo by Cylla von Tiedemann.

Page 6 national.ballet.ca Cinderella Ten Years of Magic

he National Ballet of Canada’s highly T acclaimed production of Cinderella celebrates 10 years of magic this year. Choreographed by James Kudelka in 2004 with spectacular designs by David Boechler, Cinderella has been hailed “a masterpiece... the finest Cinderella in the world, bar none” (The Globe and Mail). Principal Dancer Sonia Rodriguez created the role of Cinderella in 2004 and to this day it remains one of her favourites. She tells us Sonia Rodriguez. more about this special ballet: Photo by Cylla von Tiedemann.

What is different about James Kudelka’s version of the famous story of Cinderella? SR: This is not your average fairy tale. There is so much depth to all of the characters and their problems and complicated relationships are in no way sugar-coated. It is not about the Prince elevating Cinderella to glory, as in traditional versions. In a way she elevates him.

Describe Cinderella’s character SR: Cinderella is the one constant in the ballet. She is a feisty young woman who stands up for her ideals and refuses to be a product of her environment. She dreams of a better future where love and understanding prevail.

Tell us about the symbolic importance Guillaume Côté and Sonia Rodriguez. to Cinderella’s pointe shoes. Photo by Cylla von Tiedemann. SR: There is the obvious of the rags to riches element of the story. Being things. She receives her pointe shoes from barefoot in the first act represents the huge her Fairy Godmother while getting ready gap between her world and that of the Prince. for the ball and in a way they are the bridge It also defines – someone who is down to earth between the two worlds, as it is the only item and not impressed by fame or materialistic that remains after the clock strikes 12.

Page 7 Cinderella has an unforgettable entrance Do you have a favourite moment to the ball. Describe it for us. in the ballet? SR: Cinderella’s entrance to the ball is truly SR: Hearing the audience gasp as I make breathtaking. I get to ride in an oversized my entrance to the ball truly makes me feel pumpkin that floats down to the stage as like Cinderella. fairies guide it with silk ribbons. It gently lands in the middle of the ball. Cinderella and the National Ballet

1968 – National Ballet Founding Artistic Director Celia Franca premiered her version of Cinderella with designs by Jürgen Rose. The same year, Director Norman Campbell produced a television

version for the Canadian Broadcasting Norman Campbell and Corporation, earning an Emmy Award. Celia Franca examining Cinderella set model for the CBC television 1973 - Sadly, the costumes for Ms. Franca’s production (1968). Cinderella were destroyed by a fire in the Veronica Tennant wardrobe department. and Jeremy Blanton in Cinderella (1969). Photo by Ken Bell. 1995 – The National Ballet presented the company premiere of Ben Stevenson’s Cinderella using sets and costumes borrowed (below) from . This production, with Sonia Rodriguez and designs by David Walker, was well received Artists of the Ballet (2004). Photo by by Toronto audiences and demonstrated Cylla von Tiedemann. a renewed interest in this timeless tale.

2004 – The National Ballet premiered a new production of Cinderella by then Artistic Director James Kudelka featuring stunning sets and costumes by Canadian designer David Boechler. A wonderful showcase for the talents of dancers, this production was rapturous received by audiences and critics alike.

2014 – The National Ballet celebrates the 10th anniversary of James Kudelka’s Cinderella.

For more information and video of this production visit national.ballet.ca

Page 8 national.ballet.ca Selected Biographies

Karen Kain, C.C., LL.D, of the world’s most prominent contributions to the cultural D. Litt., O.Ont. choreographers, she premiered life of her country, and in Artistic Director many new and important 2011, Ms. Kain was honoured Long recognized as one of the works during her time as a by the International Society for most gifted classical dancers dancer. Ms. Kain retired from the Performing Arts with the of her era, noted for her dancing following a farewell Distinguished Artist Award. compelling characterizations tour in 1997 and took up the and versatility as a performer, position of Artist-in-Residence James Kudelka, O.C. Artistic Director Karen Kain with the National Ballet, a role Choreographer is one of Canada’s most that was later expanded to James Kudelka is widely renowned and committed that of Artistic Associate. In acknowledged as one of North advocates for the arts. Born 2004, she restaged Rudolf America’s most innovative in Hamilton, Ontario, Ms. Kain Nureyev’s landmark version choreographers. His mastery received her training at of The Sleeping Beauty for the of both and Canada’s National and the following modern, contemporary dance School in Toronto, joining year was named Artistic has earned him commissions The National Ballet of Canada Director. Ms. Kain has from companies – some 25 in 1969. She was quickly received many Canadian and in all – as stylistically diverse promoted to Principal Dancer international awards through- as American Ballet Theatre, with the company after her out her career, testifying to Chicago’s Hubbard Street sensational debut as the her accomplishments both as Dance and Les Ballets Jazz Swan Queen in . In an artist and an advocate for de Montréal. Even as a student 1971, Ms. Kain was awarded the arts. She is a Companion at Canada’s National the Silver Medal in the of the Order of Canada, the Ballet School, Mr. Kudelka Women’s Category at the first Canadian recipient of the demonstrated a choreographic prestigious Cartier Lifetime Achievement interest in exploring innovative Competition in Moscow Award and was named an approaches. While adept in the and, along with her frequent Officer of the Order of Arts classical ballet vocabulary, he partner at the time, Frank and Letters by the Government infuses it with a contemporary Augustyn, received a special of France. In 1997, Ms. Kain sensibility acquired from prize for Best . was honoured with a Governor his intense interest in modern Subsequently, she embarked General’s National Arts Centre movement idioms. Mr. Kudelka’s on a remarkable international Award and received a Governor work covers an impressive career during which she General’s Award for Lifetime range, from virtuoso pas de performed many of ballet’s Artistic Achievement in 2002. deux, through large-scale and greatest roles with such From 2004 to 2008, she was always arresting adaptations companies as Opéra Chair of the Canada Council of such classics as Swan Lake, Ballet, Roland Petit’s Le Ballet for the Arts. In 2007, she was and Cinderella, de Marseilles, the Bolshoi presented with the Barbara to boldly innovative creative Ballet, London Festival Ballet Hamilton Memorial Award collaborations with dancers, and Vienna State Opera for demonstrating excellence designers and musicians. Ballet. Throughout her career and professionalism in the Mr. Kudelka has never been she also developed a close performing arts. In 2008, the afraid to tackle psychologically creative partnership with Rudolf Karen Kain School for the challenging subject matter Nureyev and often performed Arts officially opened, a tribute in his story ballets – he views with him. A favourite of some to Ms. Kain’s ongoing dance as a primary medium of

Page 9 artistic discourse – and through Theatre, Soulpepper Theatre Lemieux & Compagnie, his gift for movement metaphor Company, Factory Theatre, ProArteDanza and Moonhorse infuses poetic, emotional Tarragon Theatre, Canadian Dance Theatre. In addition to meaning into his many Stage, Mirvish Productions, his work in dance, Mr. Dennis non-narrative works. After nine The Grand Theatre, Manitoba has designed lighting for the distinguished years as Artistic Theatre Centre, National Arts Shaw and Stratford Festivals Director of The National Ballet Centre, Citadel Theatre, Blyth as well as other regional opera, of Canada (1996 to 2005), Mr. Festival, Globe Theatre, Arts theatre and film productions Kudelka continues to under- Club Theatre Company and the throughout Canada. Mr. Dennis take collaborative projects that Belfry Theatre, among others. served as Lighting Director for engage and challenge him His many awards include Mikhail Baryshnikov’s White as a choreographer. a Dora Mavor Moore Award, Oak Dance Project and was two Betty Mitchell Awards and Assistant Resident Lighting David Boechler a Sterling Award. Mr. Boechler’s Designer for the Metropolitan Set and Costume Designer work has been extensively Opera’s 2009/10 season. David Boechler has designed archived in the Toronto sets and costumes across Reference Library’s Canadian David Briskin Canada for every major regional Theatre Collection. Music Director and theatre. His recent design Principal Conductor work includes La Traviata Christopher Dennis One of the foremost ballet (Pacific Opera), Song of a Lighting Designer conductors at work today, Wayfarer (Alberta Ballet), Christopher Dennis served as David Briskin is renowned Guys and Dolls, Sweet Charity the Resident Lighting Designer for the scope of his repertoire (Drayton Entertainment), and Lighting Coordinator at and the depth and beauty of quondam (Royal Swedish The National Ballet of Canada his interpretations. Whether in Ballet), Julius Caesar (Stratford for 14 seasons, before joining the classical or contemporary Festival), Courageous as idiom, from works steeped (Tarragon Theatre/Citadel) Technical Director in 2010 and in tradition to cutting edge and The Princess and the is currently Production Director. modern compositions, Mr. Handmaiden (Young People’s He created memorable and Briskin brings a sure hand and Theatre). Career highlights evocative lighting designs for a sensitive understanding to include seven seasons at the many of the National Ballet’s the dramatic and choreographic Shaw Festival (The Man Who productions, including Aszure life of the music he conducts. Came To Dinner, Getting Barton’s Watch her, James Before joining The National Married, The Old Ladies, Time Kudelka’s Cinderella, Matjash Ballet of Canada in 2006, Mr. and The Conways and Diana Mrozewski’s A Delicate Battle Briskin served as conductor of Dobson’s) and four seasons and Jean-Pierre Perreault’s with American Ballet Theatre at the Stratford Festival (South The Comforts of Solitude. His in New York City for seven Pacific, Cabaret and My One work for San Francisco Ballet years, directing performances and Only). Mr. Boechler has includes Yuri Possokhov’s The at the Metropolitan Opera been a regular collaborator at Rite of Spring, Francesca House, City Center and Theatre Calgary (Dirty Rotten da Rimini and RAkU, as well numerous ballet and opera Scoundrels, Trying, Private as Helgi Tomasson’s Trio. houses around the world. In Lives and MacBeth) and was Mr. Dennis’ lighting designs demand as a guest conductor, Resident Costume Designer are in the repertoires of ballet Mr. Briskin has worked with for Alberta Theatre Project’s companies around the world, such companies as New York playRites Festival for three including American Ballet City Ballet, San Francisco years. His exceptional career Theatre, , West Ballet, The , has taken him to Neptune Australia Ballet, Coleman Houston Ballet, Les Grands

Page 10 national.ballet.ca Ballets and Alberta Ballet. He studying at the St. Petersburg his long association with the appears regularly at Covent Conservatory of Music and National Ballet, he worked Garden in London with The London’s Royal Academy with Les Feux Follets, The Royal Ballet, most recently of Music. In fall 1997, West Charlottetown Festival, conducting the world made his debut with English La Poudriere Theatre and The premiere of Christopher National Ballet and was Studio Lab Theatre. He worked Wheeldon’s The Winter’s Tale immediately appointed Resident at Expo ’67 in Montréal, stage (a co-production with The Conductor, and from 2004 to managing over 4,000 puppet National Ballet of Canada) 2007 he held the position of shows. Mr. Abugov also featuring an original score Principal Conductor. In recent toured with Harry Belafonte. by Joby Talbot. For three seasons, he has worked with In what little spare time that seasons, Mr. Briskin served many companies such as The he has, Mr. Abugov guest- as Music Director of Pittsburgh Royal Ballet, New York City lectures to theatre students. Ballet Theatre and was Ballet, Houston Ballet, Miami Conductor for The Juilliard City Ballet as well as The Jeff Morris School’s Dance Division from National Ballet of Canada. Stage Manager 1993 to 2005. In 2008, Since 2005, Mr. West has Born in Toronto, Jeff Morris Mr. Briskin was appointed been Music Director and studied technical theatre Assistant Professor and Principal Conductor of San production and administration Director of Orchestral Studies Francisco Ballet. He has made at Ryerson’s Theatre School. at the University of Toronto numerous recordings with the After leaving Ryerson, he Faculty of Music. Mr. Briskin’s San Francisco Ballet Orchestra became Production Stage versatility has also seen him including the award winning Manager for Toronto Dance conduct symphony and opera DVD of John Neumier's The Theatre (1990 – 1995). With productions throughout the Little Mermaid. Toronto Dance Theatre he Americas, Europe and Asia, toured extensively, stage with such orchestras as the Ernest Abugov managing the company’s Pittsburgh, Detroit, Baltimore, Stage Manager debuts in Berlin, Warsaw, Indianapolis and Windsor Ernest (Ernie) Abugov has Beijing, Tokyo, and at the Symphony Orchestras, the served as Stage Manager of Joyce Theater, New York. Shanghai Symphony Orchestra The National Ballet of Canada He was Production Stage and the National Symphony since 1973, working with Manager for Dancers For Life Orchestra of Costa Rica, and every Artistic Director in the (AIDS Committee of Toronto, with such opera companies company’s history from Celia 1991 – 1997), Stage Manager as Calgary Opera, Manitoba Franca to Karen Kain. He has for Theatre Passe-Muraille Opera, Opera Carolina, Lake traveled with the company (Never Swim Alone, George Opera and Sarasota all over the world touring to Metamorphosis of a Shadow) Opera. Israel, Asia, Europe, Mexico and for the Fringe Festival of and throughout North America. Independent Dance Artists. Martin West Mr. Abugov has worked with Mr. Morris joined The National Guest Conductor many of the world’s most Ballet of Canada in 1995 and Martin West is acknowledged renowned choreographers has since stage-managed a as one of the foremost who have created original wide range of the company’s conductors of ballet, garnering works for the National Ballet unique classical and critical acclaim throughout including Alexei Ratmansky, contemporary repertoire, the world. Born in Bolton, John Neumeier, William including the world premieres England, he studied math Forsythe and Glen Tetley. Mr. of James Kudelka’s The Four at St. Catharine’s College, Abugov was born in Montréal, Seasons, Cinderella, and An Cambridge University, before Québec. Before beginning Italian Straw Hat, Jean-Pierre

Page 11 Perreault’s The Comforts The National Ballet of of Solitude, Crystal Pite’s Canada Orchestra Emergence, and Alexei The National Ballet of Canada Ratmansky’s Romeo and is privileged to have its own Juliet. Company premieres full Orchestra with over 60 include John Neumeier’s members. The Orchestra has Nijinsky and Christopher performed in each of the Wheeldon’s Alice’s National Ballet’s seasons and Adventures in Wonderland. is led by Music Director and Principal Conductor David Tiffany Fraser Briskin. The company’s first Assistant Stage Manager Music Director was George Tiffany Fraser has been Crum who, along with Assistant Stage Manager Founder Celia Franca, was with the Canadian Opera a pioneer of the company. Company for the past Mr. Crum held the position 12 seasons including from the company’s inception La Bohème, Rigoletto, in 1951 to 1984, when he La Clemenza di Tito, Die was appointed Music Director Fledermaus, L’Amour de Loin, Emeritus. The Orchestra was A Florentine Tragedy, Gianna led by Ermanno Florio from Schicchi, Death in Venice, 1985 to 1990. Ormsby Iphigénie en Tauride and Wilkins was Music Director more. Ms. Fraser was recently and Principal Conductor from Stage Manager with Opera 1990 to 2006. The National Hamilton for Barber of Seville Ballet of Canada Orchestra and The Pearl Fishers and has toured extensively with with The National Ballet of the company through Canada, Canada for Swan Lake and the US and Europe. Over Innovation. the years, the Orchestra has received much acclaim from audiences and critics alike and has recorded two CDs of Michael Torke’s compositions for The Contract (The Pied Piper) and An Italian Straw Hat. The Orchestra made their concert debut at Koerner Hall on April 3, 2012, in celebration of the company’s 60th anniversary.

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ne of the National Ballet’s most O significant achievements in recent history is our return to international touring. Artistic Director Karen Kain has always said that the best ballet companies demand to be seen on the world stage, and she has pursued this goal for the National Ballet tenaciously, as a true visionary.

Today, the National Ballet enjoys an international reputation for excellence, with exquisite artists, a first-class production team and a dynamic, growing repertoire that is generating prestigious offers to tour. The momentum continues in the coming months with performances of Romeo and Juliet at the The National Ballet of Canada, thank you Los Angeles Music Center in July, and Alice’s for making the seemingly impossible task Adventures in Wonderland at New York City’s of touring grand-scale ballets not only Lincoln Center in September. achievable, but also thrilling and historic.

With these touring engagements come Our return to New York City marks the first boundless opportunities for creative and time in 26 years that the National Ballet will organizational development, not to mention present a full-length work in Manhattan. You the cultivation of new friends and audiences. can help get us there. Donate today to help We have the good fortune to build on us continue to shine on the world stage. a wonderful foundation right here at home, where we benefit daily from the generosity — Diana Reitberger, CFRE of our donor community. On behalf of Director of Development

Donate to the New York Tour Today • national.ballet.ca/newyork • 416 345 9595 • The National Ballet of Canada – 470 Queens Quay West, Toronto, Ontario, Canada, M5V 3K4

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