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Sonia Rodriguez

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.

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.

Skylar Campbell as Pinocchio and Artists of the Ballet in The National Ballet of Canada’s Pinocchio / Photo by Aleksandar Antonijevic
 
Emerging Arts Critics Programme

Pinocchio: Hybridized Ballet

By Sabrina Papas

If the audience of the opening night performance of Pinocchio was expecting a wholly classic, balletic rendition when the curtain rose, choreographer Will Tuckett defied those expectations.

 
Emerging Arts Critics Programme

Cinderella

By Dina Ginzburg

A great performance requires more than exquisite technique, as National Ballet of Canada principal dancers Sonia Rodriguez and Guillaume Côté continue to prove.

 
Emerging Arts Critics Programme

Cinderella in the Jazz Age

By Victoria Ellingham

The National Ballet of Canada’s Cinderella is certainly not aiming to be flowery. The moment the lights engulf the stage on opening night, November 12, it is obvious this will not be another baroque production.

 
Emerging Arts Critics Programme

Le Petit Prince

By Grace Smith

Full of flash and innovation, Le Petit Prince is a step in a different direction for The National Ballet of Canada.

 
Emerging Arts Critics Programme

Nothing Petit About It

By Liz Ostil

Noticeable excitement hums within the walls of the Four Seasons Centre on opening night as audience members settle into their seats before a giant, projected paper scrawled with the name of Antoine de Saint-Exupéry’s tiniest hero.

 
Emerging Arts Critics Programme

Forget the Sylph: Where’s Effie?

By Marissa Trarback

In the midst of The National Ballet of Canada’s beautifully rendered performance of La Sylphide at the Four Seasons Centre for the Performing Arts, one might just wonder: where is Effie?

 
Emerging Arts Critics Programme

Competing Priorities

By Aziza Mohammed

While giving the story a subtly contemporary treatment relatable to the modern audience, The National Ballet of Canada’s production of La Sylphide explored the relationship between sacrifice and happiness in a faithful rendition of one of the world’s oldest ballets.

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