Review: Winter Triple Bill (The National Ballet of Canada)

Winter Triple Bill, presented by the National Ballet of Canada, showcases three distinct works on the Four Seasons Stage. From the intimate duet of islands by Canadian choreographer Emma Portner, to the neoclassical elegance of Suite en Blanc by Serge Lifar, and the digital-age reflections of UtopiVerse by Canadian William Yong, this Triple Bill offers a diverse mix of contemporary and classical ballet, highlighting the exceptional talent of Canadian dancers and choreographers.

Starting with the piece that I adored the most, islands is a duet by the talented Canadian choreographer Emma Portner. Making its North American premiere, after its debut at the Norwegian National Ballet, this intimate work was beautifully brought to life on opening night by Heather Ogden and Emma Ouellet. Dressed in matching gray bodysuits and darker gray pants designed by Martin Dauchez, the dancers' bodies merge and move as one.

islands is an exploration of the dynamics between women in ballet, a realm often marked by separation through costumes like tutus. By fusing their bodies together, this duet offers a choreography that is a fascinating blend of entwined movements, creating moments where it's hard to distinguish whose limb belongs to whom. The dance ebbs and flows, constantly shifting in speed and aesthetic. From delicate hand gestures to more assertive touches, the dancers move and support each other's heads and legs, maintaining a close connection throughout the performance.

Complementing the choreography, the music is an intimate mix of ambient pop. The lighting, designed by Paul Vidar Sævarang, adds another layer to the piece. It's dim to enhance the intimacy, with unexpected shifts that play with the audience's perspective, such as a box that moves from the ground to the wall, challenging our viewing angles.

Starting her beautiful journey with the company in 1998, Heather Ogden's performance in islands showcases her enduring beauty and artistry, leaving me hopeful that she will continue to grace the stage for many more seasons to come.

After the intermission, we were treated to Suite en Blanc, a large ensemble work that originally premiered at the Paris Opera Ballet in 1943, choreographed by Serge Lifar. Set to the compositions of Édouard Lalo, this ballet is a vision in stark white, demanding a level of technical precision that few companies can achieve. Yet, the National Ballet of Canada rose to the occasion, delivering an incredible performance.

Suite en Blanc is a neo-classical ballet that features a second, elevated stage at the back of the theater, allowing for the creation of stunning tableaus. These large group formations provide a striking backdrop for the technical solos and pas de deuxs, showcasing the impeccable technique and skill of our Canadian company.

Among the standout performers was First Soloist Calley Skalnik, whose flawless execution of the piece ‘La Cigarette’ was a highlight of the evening. An incredible showing of grace and lightness amongst quick footwork and beautifully soft lines and turns.

Lastly, UtopiVerse, choreographed by Toronto-based William Yong, opened the program with an exploration of paradise lost and utopian ideals in the digital age. While the piece was visually stunning and well-executed by the dancers, it did not quite live up to the anticipation surrounding its debut. Yong's costume and set design were striking, with dancers adorned in nude bodysuits featuring bold dark stripes down their backs, complemented by a dynamic circle of light that rose and fell, creating an immersive environment. The projections by Thomas Payette (Mirari) and lighting by Noah Feaver added layers of beauty to the production. However, the choreography and overall journey of the piece seemed to lack the innovation or refinement needed to fully realize its ambitious concept.

I love that the company is putting forward more Canadian choreographers and celebrating what this country has to offer. Others that I would love to see work with the company (moreso if they already have) are Alyssa Martin, Hanna Kiel, Natasha Powell, Esie Mensah, Laurence Lemieux, Roberto Campanella and Robert Glumbek, Julia Cratchely and Christopher House.

On another note, there have been some significant updates to the DanceBreak program. Now, individuals under 35 (previously limited to those under 30) can access tickets for $45 for select performances, with a limited number of seats available. This expanded access is a great opportunity for a younger audience to experience this beautiful company at an affordable price.

All in all, the Winter Triple Bill is a fantastic night out at the ballet, showcasing great Canadian choreography and performances – I hope to see you there!

Winter Triple Bill, 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 24, 2024. Tickets range from $72 to $256. Tickets can be purchased online here.

National.Ballet.ca - Socials: @nationalballet

Photos: Isabella Kinch and Matthieu Pagès in UtopiVerse. Photo by Jason George and William Yong.

Written by Deanne Kearney - DeanneKearney.com @deannekearney