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Les Grands Ballets Canadiens de Montréal Gradimir Pankov, Artistic Director
April 7 + 8, 2017 • 7:30 pm • Royal Theatre Running time: Approximately 1 hour 25 minutes (Note: There is NO intermission for this show.)
Dance Victoria dedicates tonight’s performance to the memory of Betty Wilkinson. In 2003, when Les Grands first performed this program at the Royal Theatre, Betty was brought onstage and, in the end, she was the last woman standing. She was delighted and flustered and flattered and quite amused, recalling the experience with friends for many years after. We miss you, Betty.
About the Work Minus One Choreography: Ohad Naharin Assistant to the Choreographer: Yoshifumi Inao Lighting Design: Avi Yona Bueno Costume Design: Rakefet Levy Assistant: Hadar Sobol Music: excerpts from Mambo Fever: Chihuahua (by Luis Oliveira and his Bandodalua Boys), Glow Worm Cha Cha Cha (by Jackie Davis), Hooray for Hollywood (by Don Swan & his orchestra); excerpts from Cha Cha de Amor: Choo Choo Cha Cha (by Rinky Dinks), Recado Bossa Nova (by Laurindo Almeida & The Bossa Nova All-Stars, N. Antonio / D. Ferreira), Gopher Mambo (by Yma Sumac), Blue Rhumba/Rock-Cha-Rhumba (by Rolley Polley), Sway (by Dean Martin); Hava Nagila (by Dick Dale, from the album Unknown Territory); Echad Mi Yodea (written and performed by Tractor’s Revenge, all rights reserved); Greensleeves (from The Beggar’s Opera, arranged by Jeremy Barlow, played by The Broadside Band); Etude No. 3 for Marimba (by Paul Smadbeck); Somewhere over the rainbow (by Arlen Harold, adapted by Marusha); Fratres* (by Arvo Pärt); Que Sera Sera (by Livingston and Ray, performed by No Secrets in the Family).
Dancers: Leigh Alderson, Corwin Barnette, Raphaël Bouchard, Célestin Boutin, Esabelle Chen, Matthew Cluff, Renata Commisso, Hervé Courtain, Jean-Sébastien Couture, Mahomi Endoh, Jérémy Galdeano, Emma Garau Cima, Vanesa G.R. Montoya, Emily He, Troy Herring, Chisato Ide, Ruben Julliard, Marcin Kaczorowski, Sarah Kingston, Vera Kvarcakova, Myles Lavallée, Valentine Legat, Diana León, Jacqueline Lopez, Sahra Maira, Eline Malègue, Anya Nesvitaylo, Christie Partelow, Jeremy Raia, Jerimy Rivera, Stephen Satterfield, Chen Sheng, Ryo Shimizu, Eleonore Thomas, Andrew Wright World Premiere on May 30, 2002, Théâtre Maisonneuve, Place des Arts, Montréal. Work created for Les Grands Ballets Canadiens de Montréal. *Used by arrangement with European Music Distributors Company, agent for Universal Edition Vienna, publisher and copyright owner.
Synopsis The illusion of beauty / and a fine line that separates madness from sanity / the panic behind the laughter / and the coexistence of fatigue and elegance…
themselves, with the company’s performers speaking in voice-over throughout the piece, telling their own stories and talking about their relationships with dance.
These words open Ohad Naharin’s Minus One, one of the most innovative pieces from Les Grands Ballets Canadiens de Montréal’s repertory.
Set to a soundtrack that moves from traditional to popular songs, as well as baroque music, ethnic rhythms and original compositions, more than 30 dancers perform at a gripping speed—jumping, spinning—and then melt into movements that are slower, hypnotic, though still inspired, before coming full circle to explosive expressiveness. They are by turns joyful, meditative, comical and perfectly geometric, with a unique and audacious physical language that marries grace, agility and humour. Audiences will be left with compelling and unforgettable images that take shape in a charged ambience. Minus One gives Les Grands Ballets’ dancers a chance to demonstrate the full diversity of their talents. This work is one of the company’s largest worldwide successes to date.
Fourth row (left to right): Sarah Kingston (S), Troy Herring (CB), Hervé Courtain (PS), Éline Malègue (DS)
Fourth row (left to right): Jérémy Galdeano (PS), Sahra Maira (S), Rubén Julliard (S), Vera Kvarcakova (DS)
Third row (left to right): Anya Nesvitaylo (DS), Raphaël Bouchard (S), Emma Garau Cima (PS), Marcin Kaczorowski (PS), Jean-Sébastien Couture (PS), Chisato Ide (DS), Matthew Cluff (A), Christie Partelow (DS)
Third row (left to right): Chen Sheng (S), Stephen Satterfield (S), Jerimy Rivera (CB), Leigh Andrew Alderson (DS), Mahomi Endoh (PS), Ryo Shimizu (DS), Valentine Legat (PS)
Second row (left to right): Jeremy Raia (PS), Diana Léon (CB), Éléonore Thomas (A), Esabelle Chen (CB) First row (left to right): Célestin Boutin (DS), Corwin Barnette (CB) (PS-First Soloist; S-Soloist; DS-Demi-Soloist; CB-Corps de Ballet; A-Apprentice)
Second row (left to right): Jacqueline Lopez (DS), Émily He (CB), Renata Commisso (DS), Myles Lavallee (CB) First row (left to right): Vanesa Garcia-Ribala Montoya (PS), Andrew Wright (CB) Absent from photo: Marie-Ève Lapointe (PS-First Soloist; S-Soloist; DS-Demi-Soloist; CB-Corps de Ballet; A-Apprentice)
Photos © 2016 Sasha Onyshchenko / Kravetz Photographics
This complex and finely chiseled work owes its quality to the alchemy with which every element is suffused. Starting with excerpts from seven different pieces (Zachacha, Sabotage Baby, Black Milk, Passomezzo, Anaphaza, Queens of Golub and Mabul), Mr. Naharin has succeeded in creating a single work, unique and whole, that at no point feels like an arbitrary collage. Choreographic patchwork is a perilous exercise, but the choreographer has carried it off with flair. At the finale, he pays a magnificent tribute to dance and above all to dancers
Minus One (Les histoires) The stories told by the Les Grands Ballets dancers on stage are an integral part of the work Minus One. They were prerecorded in the language chosen by the choreographer, Ohad Naharin. Below is a translation of these stories: 1. My name is Shawn Hounsell. My body, oh my, my, my,
my body. I don’t like my body but I like the way it feels when I move. Je m’appelle Shawn Hounsell. Mon corps, oh mon, mon, mon, mon corps. Je n’aime pas mon corps, mais j’aime ce que je ressens quand je bouge. 2. I couldn’t bring myself to come onto stage without
taking a valium until quite recently. The hardest thing is to be alone on stage for me. I almost feel like I’m going to die. But there is something amazing about being able to conquer that fear. It makes every performance seem like the last one. Jusqu’à récemment, je n’arrivais pas à monter sur scène sans prendre une pilule de Valium. La chose la plus difficile pour moi est d’être seule sur scène. C’est presque comme si j’allais mourir. Mais il y a quelque chose d’extraordinaire dans le fait d’être capable de vaincre cette peur. C’est comme si chaque prestation était la dernière. 3. My name is Tony, Tony Bougiouris. Dancing is a body
Minus One. Photo © Damian Siqueiros. Dancer: Jérémy Galdeano
thing. Actually, the first thing that I did was I used to lift weights. In college, I was the U.S. champion in the junior division for weight lifting, and that got me into cheerleading. It’s through cheerleading that I started dancing. I love dancing. I really, really love it. I really, really love it. Je m’appelle Tony, Tony Bougiouris. La danse est un truc de corps. En fait, la première chose que j’ai faite a été de soulever des poids. Au lycée, j’ai été champion américain de musculation dans la catégorie junior, ce qui m’a amené aux majorettes. C’est grâce aux majorettes que j’ai commencé à danser. J’aime danser. J’aime vraiment, vraiment ça. J’aime vraiment, vraiment ça. 4. Je pense que je suis un petit peu sexy. J’adore être
regardé. J’aime vraiment beaucoup quand les gens me regardent. J’aime mon corps. Si je pouvais changer quelque chose ce serait mes fesses. J’aimerais les avoir plus grosses, mais c’est okay, je suis content. I believe I’m a little bit sexy. I love being looked at. I really like it a lot when people look at me. I love my body. If I could change anything, it would be my butt. I would like it bigger, but that’s okay, I’m happy.
5. When I was 12 years old, my sister and I, we had an
accident, a car accident. My sister died, she died and I broke many bones in my body. I was in the hospital for 8 months, and then in a wheelchair for 2 years. For my 15th birthday, my parents took me to see a dance performance and I loved it. Soon after I was able to walk and immediately then I started taking dance classes. For me to dance is to survive. Quand j’avais 12 ans, ma soeur et moi, nous avons eu un accident, un accident de voiture. Ma soeur est morte, elle est morte et je me suis cassée plusieurs os. Je suis restée à l’hôpital pendant 8 mois, et ensuite j’ai été en fauteuil roulant pendant 2 ans. Pour mon 15e anniversaire, mes parents m’ont emmenée voir un spectacle de danse et j’ai adoré. Peu après j’ai pu marcher à nouveau et j’ai immédiatement commencé à prendre des cours de danse. Pour moi, danser c’est survivre. 6. (Day-o, day-o Daylight come and me wan’ go home
Daylight come and me wan’ go home Come, Mister tally man, tally me banana Daylight come and me wan’ go home Six foot, seven foot, eight foot bunch Daylight come and me wan’ go home) Lately I find, a couple of beers right before I go on stage, really helps my performance.
Minus One (Les histoires) cont’d
Ces derniers temps, je trouve que quelques bières avant de monter sur scène améliorent vraiment ma performance. 7. My name is Jeremy, Jeremy Raia. When I was 16, I
went to stunt school. I wanted to be a stunt man. I wanted to be like Jacky Chan. We had to take dance classes too. This I wasn’t so good at. Then I got bored with stunts, but dancing really fascinated me. I didn’t think I would be a dancer, but I danced all the time. I just kept dancing. I didn’t care to be on stage. I just wanted to move. I just wanted to feel my body move. Je m’appelle Jeremy, Jeremy Raia. Lorsque j’avais 16 ans, je suis allé à l’école des cascadeurs. Je voulais être cascadeur. Je voulais être comme Jacky Chan. On devait aussi prendre des cours de danse, et là, je n’étais pas si bon. Et puis je me suis lassé des cascades, mais la danse me fascinait réellement. Je ne pensais pas que je serais danseur, mais je dansais tout le temps. Je ne faisais que danser. Je m’en foutais d’être sur scène. Je voulais simplement bouger, je voulais simplement sentir mon corps bouger. 8. I have this little box, silver little box. Every time I cut
my nails, I put them in the box. It’s been now more than 20 years. Actually it was the obsession of my mother. And when I left home I continued to do it: to put my nails in the box. J’ai cette petite boîte, cette petite boîte en métal. Chaque fois que je me coupe les ongles, je les mets dans la boîte. Ça fait maintenant plus de 20 ans. En fait, c’était l’obsession de ma mère. Et moi, quand j’ai quitté la maison, j’ai continué à faire comme ça : mettre mes ongles dans la boîte.
9. My name is Alison McCreary, Alison. Hum… I, I don’t
think I’m very good with relationships. It’s been, it’s been a problem. It’s been difficult since I came here. I don’t get to meet many men. I don’t get to meet anybody. My email address is amccreary@videotron.ca, that’s a-m-c-c-r-e-a-r-y @videotron.ca Je m’appelle Alison McCreary, Alison. Hum… Je, je ne crois pas que je sois très douée pour les relations. C’est un problème. C’est difficile depuis que je suis arrivée ici. Je n’arrive pas à rencontrer beaucoup d’hommes. Je n’arrive pas à rencontrer quiconque. Mon adresse courriel est amccreary@videotron.ca. Ça s’écrit a-m-c-c-r-e-a-ry@videotron.ca. 10. When I was very young, I was diagnosed as someone
with very weak kidneys. My kidneys, they don’t work very well. The doctor said I must sweat, I must sweat a lot. This way, I can get rid of all the toxins, of all the toxins in my body. So my mother sent me to jazz class, aerobic class, tap dance, flamenco dance, arabian dance, folk dance and always told me: make sure you sweat. So I did. I went dancing and sweated a lot. Tout jeune, j’ai été diagnostiqué comme quelqu’un avec des reins très fragiles. Mes reins, ils ne fonctionnent pas très bien. Le médecin a dit que je devais transpirer, beaucoup transpirer. De cette façon, je pourrais me débarrasser des toxines, de toutes les toxines dans mon corps. Alors ma mère m’a inscrit à des cours de ballet jazz, d’aérobie, de claquettes, de flamenco, de danses orientales, de danses folkloriques, et m’a toujours dit : assure-toi de transpirer. Donc c’est ce que j’ai fait : je suis allé danser et j’ai beaucoup transpiré.
Minus One. Photo © John Hall
(Day-o, day-ay-ay-o Le jour s’ lève et moi j’ veux m’ rentrer Le jour s’ lève et moi j’ veux m’ rentrer Allez Msieur le p’tit chef, fais moi passer des bananes Le jour s’ lève et moi j’ veux m’ rentrer Des régimes de six, sept, huit pieds! Le jour s’ lève et moi j’ veux m’ rentrer)
Biographies Gradimir Pankov (Artistic Director)
Ohad Naharin (Choreographer)
Macedonia native Gradimir Pankov has been in love with dance for 62 years. He began his career as a brilliant dancer in the former Yugoslavia and in Germany, before successively taking over the artistic direction of Nederlands Dans Theater II (the Netherlands), National Ballet of Finland (Helsinki), Cullberg Ballet (Sweden), and Ballet du Grand Théâtre de Genève (Switzerland). He has also served as a guest instructor with the most prestigious ballet companies in the world: Paris Opera Ballet, Lyon Opera Ballet, Nederlands Dans Theater, Cullberg Ballet, Gulbenkian Ballet, and American Ballet Theatre. On his road to success, he met and made lasting friendships with what are today’s leading ballet figures, including Jiří Kylián, Mats Ek, Ohad Naharin, and rising stars like Didy Veldman and Stijn Celis.
Ohad Naharin began his dance career with the Batsheva Dance Company. At the invitation of Martha Graham, he went to New York a year later to join her company and trained at the the School of American Ballet Theatre on a scholarship. After a year with the Martha Graham Dance Company, he continued his training at the Juilliard School as well as with Maggie Black and David Howard. He then joined Maurice Béjart’s Ballet of the 20th Century in Brussels for a season and made his choreographic debut in 1980 at Kazuko Hirabayashi’s studio in New York. From 1980 to 1990, he worked in New York as a dancer. In 1990, he was appointed artistic director of the Batsheva Dance Company.
A man of passion and openness, Pankov is passionate about all forms of expression. Undaunted by challenges, he aspires to make Les Grands Ballets Canadiens de Montréal into a company that stands out both in the world of ballet and that of culture in general. Gradimir Pankov succeeded Lawrence Rhodes as artistic director of Les Grands Ballets Canadiens de Montréal in October 1999. By his own admission, he turned Les Grands Ballets Canadiens de Montréal into one of the most exciting companies in the world of ballet — between respect for tradition and a willingness to innovate.
Naharin has received many awards and honours. He was made Knight of the Ordre des Arts et des Lettres by the French government in 1998, and received an honorary doctorate in philosophy from the Weizmann Institute of Science in 2004. He also won two New York Dance and Performance (Bessie) Awards — one for Naharin’s Virus, performed at the Brooklyn Academy of Music in 2002, and the other for Anaphaza, staged at the Lincoln Center Festival in 2003. He won the prestigious Israel Prize for dance in 2005. Naharin’s works feature in the repertories of companies as prestigious as the Nederlands Dans Theater, the Frankfurt Ballet, the Opéra de Lyon Ballet, the Ballet Nacional de España, the Cullberg Ballet (Sweden), the Opéra National de Paris Ballet, and Les Grands Ballets Canadiens de Montréal, among others.
About Les Grands Ballets Canadiens de Montréal Les Grands Ballets Canadiens de Montréal is a worldrenowned company for creation, production and performance, dedicated to the development of ballet in all its forms, based on the discipline of classical ballet. It connects with audiences at home and abroad, spurring discovery, stirring emotions, stimulating the imagination and conveying the passion for dance. Les Grands Ballets strives for excellence and embodies openness, creativity and audacity in an inspired and generous vision of society.
Touring Staff Artistic Director: Gradimir Pankov Executive Director: Alain Dancyger Production Director: Stéphan Pépin Principal Ballet Master: Pierre Lapointe Ballet Master: Steve Coutereel
Technical Director: Jean-François Tremblay Stage Manager: Gabrielle Lemoine Head Stage Carpenter: Kenneth Gregg Head Lighting Technician: Jean Bastien Assistant Head of Lighting: Dominic Drouin Property Master: Pierre Berthiaume Head of Costumes: Denise Morin Head of Wardrobe: Mélanie Ferrero Assistant to Head of Wardrobe: Stéf-Anne Lagacé Costume Cutters: Roger Harvey, Mireille Tremblay, Caroline Boisvert, Mélanie Richard Touring and Guest Companies Director: Corinne Jozsef Touring and Guest Companies Coordinator: Cynthia Bouchard-Gosselin
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