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Emerging Dance Critics Programme

Svetlana Lunkina in Wayne McGregor’s Genus / Photo by Aleksandar Antonijevic
 
Emerging Dance Critics Programme

All in Sequence

By David Rudin

Wayne McGregor’s Genus and Jerome Robbins’ The Concert are both elaborate choreographies that hinge on the smallest of movements – the twitch of a finger, the crook of an elbow or the flick of a wrist.

Evan McKie and Tanya Howard in Wayne McGregor’s Genus / Photo by Aleksandar Antonijevic
 
Emerging Dance Critics Programme

Truly Mixed: Genus, Tarantella, Self and Soul and The Concert

By Valeria Nunziato

Four disparate works, precisely crafted by four distinguished artists, make one inspiring collection of dance for The National Ballet of Canada’s mixed program.

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

Jillian Vanstone and Skylar Campbell in The Nutcracker / Photo by Alexandar Antonijevic
 
Emerging Dance Critics Programme

Performing the Magic

By Valeria Nunziato

For anyone in search of some extra holiday spirit this season, The National Ballet of Canada’s rendition of The Nutcracker certainly does not fall short.

Jillian Vanstone in The Nutcracker / Photo by Alexandar Antonijevic
 
Emerging Dance Critics Programme

A Christmas Reverie

By Sabrina Papas

Performed annually by The National Ballet of Canada, The Nutcracker invites adults and children of all ages into a mystical holiday landscape.

 
Emerging Dance Critics Programme

Onegin

By Rya Marrelli

The exquisite screen of Russian writing at the front of the stage at the Four Seasons Centre for the Performing Arts begins the beautiful work that is choreographer John Cranko’s Onegin.

 
Emerging Dance Critics Programme

Onegin

By Sebastiano Bazzichetto

From the very first note, Tchaikovsky’s Onegin score enchanted, carrying the audience back to the sumptuous days of Imperial Russia.

 
Emerging Dance Critics Programme

Harbingers of the Future

By Sebastiano Bazzichetto

The future of ballet holds great promise, judging from what was on display last Tuesday during the evening of the Twelfth International Competition for the Erik Bruhn Prize.

 
Emerging Dance Critics Programme

Promise for the Future

By David Rudin

Promise for the future, it turns out, can be entertaining in the present.

 
Emerging Dance 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 Dance 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 Dance Critics Programme

A Medley of Magic and Madness

By Marissa Trarback

Before a single dancer appears on stage opening night at The National Ballet of Canada’s production of Giselle, a medley of magic and madness already fills the air.

 
Emerging Dance Critics Programme

Sin and Un-Earned Redemption

By Aziza Mohammed

An innocent peasant girl, a prince in disguise, and an undead queen. Saccharine leitmotifs and the most enthusiastic use of triangle in any orchestral work. Giselle has it all.

 
Emerging Dance Critics Programme

Giselle’s Restless Spirit

By Emily Trace

Traditionally described as ‘the ballerina’s Hamlet’, this production of Giselle by The National Ballet of Canada soundly debunks the adage.

 
Emerging Dance 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 Dance Critics Programme

Le Petit Prince

By Michael Morreale

The National Ballet of Canada’s world premiere of Le Petit Prince had all the makings of a royal feast, but the balance was off.

 
Emerging Dance 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 Dance Critics Programme

Pure, Smart Entertainment

By Anne Cass

Vitality, glamour and striking humour fill The National Ballet of Canada’s stage at the premiere of Alexander Ekman’s Cacti, with George Balanchine’s The Four Temperaments and Rubies at the Four Seasons Centre for the Performing Arts.

 
Emerging Dance Critics Programme

The Pleasure of Cacti’s Prickle

By Matthew Pariselli

Cacti is a delightfully silly and playful ballet, but also a sharply satirical and pulsating presentation, accentuated by its strategic place in The National Ballet of Canada’s recent mixed programme, which also features Balanchine’s The Four Temperaments and Rubies.

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