Review: Pinocchio (The National Ballet of Canada)

The National Ballet of Canada’s Pinocchio is full of magical stagecraft: dancers fly through the air, projections bring a storybook world to life, and a puppet boy tumbles through a series of magical adventures. Few children’s stories have travelled as widely as Pinocchio, shifting over time from Carlo Collodi’s dark cautionary tale to the softer, more sentimental world popularized by Disney. This ballet, choreographed by Will Tuckett, lands somewhere between those two traditions, resulting in an inventive production, though it does occasionally stumble in its storytelling and artistic choices.

In this adaptation, the lonely lumberjack Geppetto (Donald Thom) discovers a magical wooden boy inside a fallen tree named Pinocchio (Noah Parets). The Blue Fairy (Beckanne Sisk) promises he may one day become real if he learns to be good. Pinocchio is quickly led astray by distractions and dubious companions, including the scheming Cat (Jenna Savella) and Fox (Isaac Wright).

One of the production’s most charming touches is its playful Canadian framing. Lumberjacks in red flannel chop down trees with axes, a Mountie appears in a chaotic tavern scene, and raccoons and beavers wander through the action. One memorable location is the Red Lobster Inn, where Pinocchio briefly finds himself among a lively crowd of drinkers and tourists dressed in maple leaf gear. 

Yet, I do wish the production followed through with the Canadian touches a little more in the dream sequence, which features a glowing city skyline backdrop. While the CN Tower does appear, it feels like a missed opportunity not to lean further into familiar Canadian landmarks or storefronts.

Another playful choice is the use of two onstage narrators who help guide the story by delivering dialogue for different characters. They add a more theatrical, almost Broadway-style framing device to the ballet. Narrator Maya Doherty shifts between several characters while narrating, such as the Schoolmistress and the Barmaid, while Trevor Patt remains only in the role of narrator. 

While the idea works in theory, the execution is a little uneven. The narration appears sporadically rather than consistently, and some sections that might benefit from explanation pass without it. At times the spoken text is also difficult to hear, which unfortunately requires the audience to concentrate more on the dialogue to understand it rather than the dancing.

The design is one of the strongest parts of the production, making the stage feel constantly alive. Colin Richmond’s sets and costumes, paired with Oliver Fenwick’s lighting and Douglas O’Connell’s projections, create a colourful storybook world, with a vibrant magical blue at its core. 

Pinocchio’s wooden costume is particularly clever, with jointed knee details that give the impression of a carved puppet. Storybook-style projections help animate the stage. The production is also filled with theatrical tricks, like the famous growing nose which makes a brief but satisfying appearance. A favourite scene is the gorgeous underwater sequence, which uses inventive design to show Pinocchio floating weightlessly as puppet fish swim around him.

Noah Parets gives an excellent performance as Pinocchio, capturing the physicality of a wooden puppet with fun, quirky clarity as he moves with stiff, sharply held shapes that evoke a puppet coming to life. It is quite a technical role, filled with high jumps, including a few beautifully executed turning jetés. Another standout performance comes from Donald Thom, who brings warmth and tenderness to Geppetto, creating a character whose loneliness and affection make him instantly sympathetic.

Ultimately, Pinocchio is a production filled with imagination and theatrical flair, even if some creative choices feel slightly off. The audience was slow to rise to their standing ovation, suggesting a similar sense of mixed reactions. Still, it remains a family-friendly ballet and a great one to take the kids to.

Pinocchio, presented by the National Ballet of Canada at the Four Seasons Centre for the Performing Arts (145 Queen St W, Toronto, ON M5H 4G1), is playing until March 22nd, 2026. For tickets, please click here.

Warning: This production features theatrical haze and smoke, dry ice and a gunshot.

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• Photo 1: Noah Parets and Beckanne Sisk in Pinocchio. Photo by Bruce Zinger. Courtesy of The National Ballet of Canada.
• Photo 2: Donald Thom in Pinocchio. Photo by Karolina Kuras. Courtesy of The National Ballet of Canada.
• Photo 3: Jenna Savella, Noah Parets and Isaac Wright in Pinocchio. Photo by Bruce Zinger. Courtesy of The National Ballet of Canada.

Written by Deanne Kearney | DeanneKearney.com @deannekearney