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Guillaume Côté

The National Ballet of Canada, Robert Lepage, Guillaume Côté

Frame by Frame

Performance | Spectacle

Toronto ON
June 1-10 juin 2018
1, 2, 6-9 @ 7:30 | 19:30
Ballet

Guillaume Côté with Artists of the Ballet in Nijinsky / Photo by Aleksandar Antonijevic
 
Emerging Arts Critics Programme

A Magical Madness: Nijinsky

By Eve van Eeden

Aristotle once said: “No great genius ever existed without a touch of madness”. Celebrating the man who personified this expression, Nijinsky is brought to life by The National Ballet of Canada.

Guillaume Côté and Heather Ogden in Nijinsky / Photo by Bruce Zinger
 
Emerging Arts Critics Programme

Love Strikes a Chord: Nijinsky

By Wei Shen

Director Stanley Kubrick was once mesmerized by Napoleon Bonaparte. Choreographer John Neumeier’s similar obsession with “Le Dieu de la Danse”, Vaslav Nijinsky, has crystallized into the National Ballet of Canada’s production Nijinsky.

Guillaume Côté and Heather Ogden in Swan Lake / Photo by David Cooper
 
Emerging Arts Critics Programme

Somber Classic Gives National Ballet Stars Time to Shine

By Annick MacAskill

The National Ballet of Canada explores the dark side of love in a regal production of choreographer James Kudelka’s Swan Lake, which opened at the Four Seasons Centre Thursday night.

Artists of The National Ballet of Canada in Swan Lake / Photo by Aleksandar Antonijevic
 
Emerging Arts Critics Programme

A Triumphant Opening

By Rya Marrelli

The Four Seasons Centre for the Performing Arts came alive at the triumphant opening night of The National Ballet of Canada’s Swan Lake on June 15.

Jillian Vanstone and Guillaume Côté in A Streetcar Named Desire / Photo by Aleksandar Antonijevic.
 
Emerging Arts Critics Programme

The Demise of Desire

By Annick MacAskill

The National Ballet of Canada’s premiere of choreographer John Neumeier’s A Streetcar Named Desire is an aesthetic triumph and a thought-provoking comment on the destructive nature of repressed sexuality and violence.

Sonia Rodriguez in A Streetcar Named Desire / Photo by Aleksandar Antonijevic
 
Emerging Arts Critics Programme

A Haunting Ballet That Does Not Leave the Mind

By Victoria Ellingham

As the audience filtered in to take their seats at the Four Seasons Centre on the evening of June 3rd, they were met with the sight of a lone chair, haphazardly left on its side in the middle of stage.

 

Moving Others

The relationship between audience engagement and attendance By Emma Doran

Most dance artists and presenters must negotiate the tension between creating work that meets their artistic goals, that is accessible to their community and that provides the fiscal support required to live as an artist and to run a company. Emma Doran speaks with artists, organizations and presenters across the country to discuss how they envision their audience, how they are seeking to reach those individuals and what constitutes meaningful engagement with them.

Robert Stephen, Brent Parolin, Skylar Campbell as Pinocchio and Alexandra MacDonald in The National Ballet of Canada’s Pinocchio / Photo by Aleksandar Antonijevic
 
Emerging Arts Critics Programme

Will Tuckett’s Pinocchio: A Canadian Talkie Ballet

By Dina Ginzburg

From plaid-clad, bearded lumberjacks, to backdrops evoking Group of Seven paintings, to a monstrous whale inhabiting the waters of a Nova Scotian fishing village, The National Ballet of Canada’s Pinocchio pays homage to the country hosting British choreographer Will Tuckett.

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