Preview | Winter 2021 - Issue 53

Preview A publication for our donors / Issue No. 53 Winter 2021

Presenting Sponsor 2020/21 Season

New Year, New Hope We begin the year 2021 with an immense feeling of gratitude and hope for the future. Donors have come together in large numbers to support The National Ballet of Canada through the Together for Ballet campaign and, as a result, we are able to deliver on our mission to share high calibre dance with a wide audience. Your donations, messages of support and participation in virtual programming remind us that great ballet still has a passionate audience, even in the absence of live performance.

Your generosity has given our artists the chance to create, rehearse and perform responsibly while staying connected with audiences, children and the broader

Karen Kain, C.C., LL.D., D.Litt., O.Ont. Artistic Director

community through digital platforms.

Gifts to Together for Ballet support these core activities and provide for enhanced technology that will help us attract new audiences and improve accessibility for ballet long after the pandemic is over.

We invite you to experience the impact of your giving with our winter Spotlight Series, which includes beautiful videos of past productions and newly captured performances.

Our artistic staff has chosen a range of classical and contemporary ballets to showcase the company’s artistry and diverse creative partnerships, including world premieres. It was incredibly moving to relive the power of our live performances in the making of this series, and to witness

our entire organization adapting to the conditions of COVID-19 to create, present and promote new work.

The 2020/21 season has been the most challenging of our careers with the National Ballet, but it has also made us very proud. We have never felt more connected with one another or with you than we do this season. We are family and, when the pressure is on, it shows.

The path ahead is not straightforward but we are secure in the knowledge that we will not travel it alone. Thank you so much for your ongoing support. We can only realize our goals with the vision and passion of committed donors like you.

Barry Hughson, Executive Director

Selene Guerrero-Trujillo. Photo by Karolina Kuras.

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The National Ballet of Canada

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Contents

We Are

Message from Karen Kain and Barry Hughson

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Together for Ballet

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Donor Spotlight

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Spotlight Series

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Dancer Spotlight: Piotr Stanczyk

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The Nutcracker On Screen

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YOU dance

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Sharing the Stage

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Building the Digital Stage

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First Soloist Ben Rudisin on Working Through a Pandemic

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A Quiet Champion: John H. Williams

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In Brief

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Send Your Words of Encouragement

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national.ballet.ca The National Ballet of Canada launched the Together for Ballet campaign last November after cancelling the live performance season for 2020/21. Now, as we pursue our first season in the virtual realm, we are happy to share that donors like you are mitigating the loss with powerful expressions of generosity and community spirit.

Along with our closest supporters, the campaign has attracted 485 first-time donors to the pressing, ongoing cause of supporting our dancers during this challenging time.

It is impossible to convey the significance of your collective good will, not only for the health of the organization, but for the spirit of Peng-Fei Jiang. Photo by Karolina Kuras.

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individual artists and staff who share your conviction that the arts are a vital part of what it means to be human.

With persistent uncertainty around the timing of our return to large in-theatre performances, we need your support more than ever. Going forward, Together for Ballet must raise additional funds to ensure that our artists can continue to train, create and connect with audiences nationwide through enhanced technology. This ensures that we will be ready to reunite with you safely and in a position of strength once live performances resume. (continued on next page)

Preview newsletter is published quarterly by The National Ballet of Canada’s Development Department.

Director of Development: Diana Reitberger, CFRE Publisher: John Hart Preview Editor: Caroline Dickie Contributor: Rhea Daniels Art & Design: Carmen Wagner We would love to hear from you.

Please send your comments to: preview@national.ballet.ca

Christopher Gerty is sponsored through Dancers First by Ms. Nancy Viner & Dr. Raymond Stein.

Cover: Genevieve Penn Nabity and Christopher Gerty in The Dreamers Ever Leave You at Harbourfront Centre.

Photo by Karolina Kuras.

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Together for Ballet Your generosity to The National Ballet of Canada is helping to: »

Sustain the employment of 62 dancers, 12 apprentices and 66 musicians.

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Protect the safety of our artists through retrofits to our buildings, enhanced cleaning, regular COVID screening and additional health protocols.

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Maintain the Dancer Wellness programme to provide personalized care for dancers.

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Commission new ballets from Canadian choreographers.

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Create high quality digital programming like this winter’s Spotlight Series.

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Share James Kudelka’s The Nutcracker across Canada in partnership with Cineplex.

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Adapt our flagship engagement programme, YOU dance, to virtual visits.

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Expand the RBC Apprentice Programme to 12 dancers who are participating in YOU dance virtual visits.

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Support the Toronto dance community through Sharing the Stage.

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Move In Studio ballet and fitness classes online.

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Enhance our digital technology so we can better capture and disseminate rehearsals and performances.

Together we can navigate the pandemic with grace, optimism and a deep sense of communal purpose. Thank you so much for standing with us in our time of need.

How You Can Help We need your help to keep the artists of The National Ballet of Canada active, creative and connected with audiences in preparation for a strong return to the stage.

Please make your gift today.

TogetherforBallet.ca 416 345 9595 Naoya Ebe is sponsored through Dancers First by Gretchen Ross.

Antonella Martinelli. Naoya Ebe. Photos by Karolina Kuras.

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Donor Spotlight: Anne LeGresley dancers, but I feel particular empathy for the Corps – it’s a tough gig! That being said, our Corps members are part of a wonderfully inclusive and supportive environment, so they have an advantage from the outset.

What was your first experience of ballet?

I participated in lessons until I was 19 and always found ballet to be challenging, fun, and frankly, inspirational. I remember seeing my first full length ballet in Glasgow, Scotland and when the lights went down and the overture started, I felt an incredible sense of anticipation and excitement. I still feel that today! I know how hard dancers work to achieve endless perfection in their art, and I get particular joy watching the choreographic efforts by so many of the dancers I watch frequently.

How do ballet and The National Ballet of Canada enrich your life today?

I truly look forward to every performance. For me, it’s a multigenerational event, as my 84-yearold mother (who drives in from London, Ontario), my sister, my daughter and now my daughterin-law all have season’s tickets.

Every one of us loves the National Ballet, and we, like all of the company, are feeling sad about not being able to share the dance experience right now.

When my family immigrated to Canada in 1970, we started attending performances – ballet brought me some stability in what was a difficult move for me as an adolescent. Now, thanks in part to wonderful people like Linda O’Leary who chairs Esprit de Corps, I get great pleasure at following the Corps de Ballet – the “heart” of any great company.

I respect the precision and constant hard work required by all the

The National Ballet of Canada

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What prompted you to become a donor and a volunteer?

I do not believe that the arts are supported to the degree they should by various governing bodies, so all the more reason to help financially if you are able. Wherever possible, I will always ensure that anyone willing to listen hears from me about how lucky we are in Canada to have a resource as rich as the National Ballet. The company is well positioned to survive this pandemic with the outstanding leadership of Karen Kain and Barry Hughson.

The two of them and all the artistic and administrative staff are to be commended for remaining positive and forward thinking during this time.

stay safe, get vaccinated, and that life will go on. Life may be a lot different, but I know the power of dance will serve as a vehicle where we can all be healed and reenergized. The sheer beauty of the dancers, the choreography, the music, and the costumes will all serve as a healing tonic from which we will all benefit.

Alexander Skinner is sponsored through Dancers First by Anne & David LeGresley.

Anne LeGresley. Photo by Gary Beechey.

Alexander Skinner. Photo by Karolina Kuras.

How did you come to sponsor a dancer through Dancers First?

I had been considering supporting a dancer for a long time. I thought a lot about the qualities that I wanted to support. Our decision to support Corps de Ballet member Alexander (Alexi) Skinner was quite easy – he really stood out for me when I saw him perform in Chroma and Angels’ Atlas (my favourite piece in last year’s repertoire). He has such an ease about him, but I recognize how hard he works and how committed he is to his art. He is a beautiful, lyrical and strong dancer. On top of that, he is such a kind and generous individual. I am only sad that I have not had the opportunity to watch him perform since we made the decision to support him. But that moment will come soon and I, along with Alexi’s family and friends, will be vigorously cheering for him.

What do you hope your support for the company will accomplish, particularly during this challenging time?

At this stage of the pandemic, I first and foremost hope that all the National Ballet team and supporters 5

Together, we can commission new works.

Spotlight Series Brings Ballet to You Spotlight Series launched successfully this winter, offering digital footage of live performances compiled in programmes of two to three works each in a particular style or theme. Captured at the Four Seasons Centre for the Performing Arts before the pandemic, the recordings are available online for 30 days each.

The virtual season will also feature commissioned works in a variety of choreographic styles. As previously announced, these include ballets

by Kevin A. Ormsby, Jera Wolfe and Choreographic Associate Alysa

Pires, along with newly secured works from Jennifer Archibald, Vanesa Garcia-Ribala Montoya, Principal Dancer Brendan Saye and Principal Dancer and Choreographic Associate Guillaume Côté. In each case, the creative process will incorporate the idea of a virtual audience by experimenting with camera angles, editing and other cinematic techniques.

Filming of all new works and several others from the existing repertoire has been postponed due to the provincial lockdown. However, The National Ballet of Canada

Orchestra was able to record the music for Ormsby’s new ballet, Trase Pa, and for George Balanchine’s Apollo before lockdown began. We look forward to resuming filming for Spotlight Series when emergency orders are lifted.

Until then, we are pleased to share the world premiere of a new film by Canadian director Ben Shirinian that captures excerpts from Robert Binet’s beautiful immersive ballet, The Dreamers Ever Leave You, shot at Harbourfront Centre last fall before Toronto moved into lockdown.

national.ballet.ca/Spotlight-Series Tanya Howard in rehearsal for Trase Pa. Photo by Karolina Kuras.

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The National Ballet of Canada

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Donor Impact The ballets in Spotlight Series reflect the breadth of the National Ballet repertoire and the talents of its dancers, musicians and production staff, all of whom continue to work and create in preparation for a return to live performance. The series also

shows the company becoming more fluent with virtual programming as a way to reach new audiences and promote diverse artistic voices.

Donors are driving these efforts by giving to Together for Ballet, a recovery campaign that is keeping

the company creative, connected and financially secure during the pandemic. Thank you for making Spotlight Series possible and thank you, above all, for tuning in. Our greatest reward is having you in the audience.

Lead philanthropic support for Spotlight Series is provided by The Walter Carsen New Creations Fund, with additional support from The Producers’ Circle.

The Producers’ Circle: Gail & Mark Appel, John & Claudine Bailey, Inger Bartlett & Marshal Stearns, Laura Dinner & Richard Rooney, Gail Drummond & Bob Dorrance, The Thor E. and Nicole Eaton Family Charitable Foundation, Sandra Faire & Ivan Fecan, Kevin Garland & Roger Garland, C.M., Ira Gluskin & Maxine Granovsky Gluskin, The William & Nona Heaslip Foundation, Anna McCowan Johnson & Donald K. Johnson, O.C., Judy Korthals & Peter Irwin, Mona & Harvey Levenstein, Jerry & Joan Lozinski, The Honourable Margaret Norrie McCain, C.C., Julie Medland, Sandra Pitblado & Jim Pitblado, C.M., The Harry & Lillian Seymour Family Foundation, Gerald Sheff & Shanitha Kachan and The Jack Weinbaum Family Foundation.

Guillaume Côté is sponsored through Dancers First by Emmanuelle Gattuso, C.M. and Allan Slaight, C.M. Heather Ogden is sponsored through Dancers First by Ira Gluskin & Maxine Granovsky Gluskin.

Guillaume Côté and Heather Ogden in rehearsal for Soul. Alysa Pires in rehearsal. Photos by Karolina Kuras.

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Together, we can support and protect our artists.

Dancer Spotlight: Piotr Stanczyk COVID-19 has had a significant impact on daily life. How are you coping?

The adjustment for me was quite difficult, but it was not the first lockdown in March that had the greatest impact. It was more the unknown of, how long is this going to last? How long am I going to be immobile without performing on stage? This really shocked me, especially in April and May. Those two months were among the most difficult in my life. I’ve been a dancer for almost 30 years now (22 years with the company and 7 in school) so it was very hard to deal with the lack of space and freedom of movement we enjoy daily in our studios.

In July, after realizing that COVID-19 will stay with us for a while, I made changes. My dining room became my new studio, I purchased new gym equipment and I started a regular daily routine: ballet class, running and biking. As I started teaching ballet classes more often at the company in recent years, I realized that this time at home can be very useful to study the structures, musicality and dynamics necessary to give dancers the best possible training. This occupied most of my time.

The biggest challenge at the moment is motivation. It’s exceptionally hard to keep working with this much uncertainty. Dancing takes a huge toll on our bodies.

We are willing to sacrifice a lot so we can perform for live audiences, but it’s impossible to keep ourselves at the peak of our abilities for months without end.

Right now, I’m thankful to have Piotr Stanczyk. Photo by Sian Richards.

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a new project to keep me creative and engaged. I’m collaborating with Choreographic Associate Alysa Pires on a new solo work for Spotlight Series called in a state of vanishing.

The National Ballet of Canada is staying connected with audiences with virtual programming, and provided online access to James Kudelka’s The Nutcracker through Cineplex last December.

You performed the lead role of Peter in that show. What was it like to see yourself on the big screen?

Given our current situation our only option is to watch art on screen. It makes me proud to see the whole company performing at this level and I’m thankful to James Kudelka for creating this masterpiece. Without a doubt, this is the best Nutcracker in the world. But the screen is limited in its ability to deliver art. It is so far from the experience of live performance, when we sit in big theatres feeding our souls with something special.

I believe that when the pandemic is over society will realize how important art is.

I’m very self-critical and striving for perfection was something that I was taught very early on. In ballet, you strive for perfection every day knowing you will never arrive there.

So, you could say I was pleased with my performance but not entirely happy with my dancing.

Donors are supporting the company’s virtual season through the Together for Ballet campaign.

How has the pandemic underscored the importance of philanthropy in the arts?

We can really see the importance of private support when we look at ballet and opera through history. Originally, ballet was financed and supported by royal and noble families of Europe, starting in Italy and France in the 17th century, and then spreading to other countries of the continent, all the way to the early 20th century.

Thanks to them and their commitment and resources, we have arrived here today.

Our donors today are the modern equivalent of those families of the past. There are far more of them and they come from all walks of life, but they are no less vital. Thanks to them our company can work through this very difficult period. I’m not sure if there was a time in modern history when the arts needed philanthropy more than right now. I want to personally thank them all for supporting us and believing that there is a future for our art.

The Nutcracker on Screen Nearly 8,800 families across Canada enjoyed The Nutcracker on screen this past holiday. In partnership with Cineplex, the National Ballet shared a previously recorded performance of the beloved holiday tradition. In addition, with the generous support of The Ada Slaight Fund and Sun Life, the National Ballet was able to provide free access for 1,600 children and families across the country who were affected by illness, poverty, and other socio-economic challenges.

We’re continually grateful to Sun Life and The Ada Slaight Fund for providing the magic of the holiday season to children, youth, and families across the country.

The Nutcracker is made possible by generous financial support from production underwriters Sandra Pitblado & Jim Pitblado, C.M., Lawrence & Ann Heisey and an anonymous friend of the National Ballet.

Sonia Rodriguez in The Nutcracker.

Photo by Bruce Zinger.

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Together, we can connect with the community.

YOU dance Goes Virtual YOU dance is the largest and most popular of The National Ballet of Canada’s community engagement programmes, reaching thousands of young people each year. In usual circumstances, YOU dance works with the young dancers of the RBC Apprentice Programme to offer free interactive performances and workshops for students in grades four through six, with a particular focus on communities without ready access to arts education. This season, with large gatherings prohibited due to COVID-19, YOU dance is embracing the virtual space to keep children inspired, empowered and connected through dance.

In a cruel paradox, the pandemic response has heightened the need for the arts while restricting access to in-person programming. Without

the extracurricular activities, school clubs and family events young people rely on to feel productive and secure, the arts are more important than ever as a path to self-confidence and joy.

To fulfill this need safely, the National Ballet has forged a new partnership agreement with the Toronto District School Board to deliver virtual YOU dance workshops throughout the city of Toronto.

Starting October 13, 2020, two Artist Educators – Annemarie Cabri and Nicole Rose Bond – have offered 82 workshops to over 2,088 students in the TDSB, plus another 11 workshops for Project Autism learners.

Students participating in the virtual workshops may also attend virtual rehearsal visits with the Apprentices, led by YOU dance Artistic Director Lindsay Fischer and accompanied by

“I truly appreciated that YOU dance worked so hard to modify the programme so my students could be actively involved and have an equitable experience without barriers. Today was phenomenal.”

- Sheri Alcordo, Teacher, Students with Developmental Delays

Siphesihle November in rehearsal. Photo by Paul McNulty.

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company pianist Zsanna Vaszilenko.

Delivered virtually from The Walter Carsen Centre, the visits invite students to learn more about ballet while enabling the dancers to train and perform. One of the pieces being rehearsed is a new work by First Soloist Siphesihle November, created exclusively for YOU dance.

To date, over 1,800 students have tuned in for 30 virtual rehearsal visits.

Donors have been instrumental to the continuation of the National Ballet’s community engagement priorities during the pandemic, particularly through the Together for Ballet campaign. Thank you to all who are helping reach young people with the magic of dance in these challenging times.

YOU dance is supported by Ballet Club Relevé, J.P. Bickell Foundation, Maxine Goldberg, the Steve and Sally Stavro Foundation, Beth & Brent Wilson, The Woodbridge Company and One Anonymous Donor.

The RBC Apprentice Programme is sponsored by The RBC Emerging Artists Project.

Siphesihle November is sponsored through Dancers First by Jerry & Joan Lozinski.

The National Ballet of Canada

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Sharing the Stage Gifts to the Together for Ballet campaign are helping The National Ballet of Canada support artists and connect with audiences through virtual programing like Sharing the Stage. Launched with the onset of the COVID-19 pandemic last spring, Sharing the Stage invites members of Toronto’s vibrant dance community to livestream or record dance classes on the company’s digital platforms. Each class begins with a short discussion between the visiting artist and a dancer from the National Ballet, who then joins the class.

Dance, in this context, becomes

common terrain, a shared mode of expression that feels particularly necessary right now.

Sharing the Stage was created to give artists participating in the National Ballet’s engagement programmes, CreativAction and InStudio a platform for connecting with the company’s dancers and audiences. In this, Sharing the Stage supports and extends the National Ballet’s efforts to foster Canadian dance talent, reach diverse communities and highlight a full range of movement vocabularies.

The popularity of Sharing the

Stage suggests National Ballet audiences are open to learning about different forms of dance and excited by what they see. Classes are attracting high numbers of participants and drawing new followers to the company’s social media channels, where information about visiting artists is shared. The initiative raises the profile of the National Ballet’s engagement strategies, strengthens relations within Toronto’s dance community and gives opportunity to artists.

Participating Artists to Date: »

Kevin A. Ormsby of Kashe Dance teaching Intro to Afro-Contemporary

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Unmesh Salunkhe of Shiamak Toronto teaching Beginner Bollywood

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Alyssa Martin of Rock Bottom Movement teaching Mood-Boosting Dance

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Jezreel Vazquez of Ballet Folklórico Puro México teaching ‘Jarabe Tapatio’ or the Mexican Hat Dance

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Emily Cheung of Little Pear Garden Dance Company teaching Chinese Folk Dance

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Shavar Blackwood teaching Beginner Hip-Hop

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Jane-Alison McKinney and Emma Kerson teaching Fear-Free Improvisation

Sharing the Stage is an initiative within Staging Change, a multi-year granting program offered in collaboration with EmcArts and The Metcalf Foundation focused on adaptive learning in arts and culture.

From left to right: Alyssa Martin. Unmesh Salunkhe. Emilia Avila and Jezreel Vazquez. Shavar Blackwood. Emily Cheung. Kevin A. Ormsby.

Past classes are available to view at national.ballet.ca/sharing-the-stage 11

Together, we can invest in essential digital technology.

Building the Digital Stage As theatres went dark last spring, The National Ballet of Canada recognized the value in having broadcast quality content that audiences could access online. As a result, the company has accelerated existing plans to develop a digital infrastructure with enhanced video capture and distribution capabilities.

When the National Ballet started sharing content online during the initial lockdown period in March 2020, many in our community expressed appreciation for being able to enjoy ballet from home. The success of our online classes, Ballet Moments series and other digital content revealed a desire among audiences for more online engagement. To meet this demand, the National Ballet is now commissioning new work for digital platforms and investing in improved technology that will meet the high

standards of excellence set by our live performances.

The National Ballet is partnering with the Canadian Opera Company (COC) on a landmark initiative to purchase and install cutting edge audio-visual equipment at the Four Seasons Centre for the Performing Arts, The Walter Carsen Centre, and the Joey and Toby Tanenbaum Opera Centre.

This includes acquiring the necessary software, bandwidth and network capabilities for widespread digital distribution.

The goal of the partnership is to develop a sophisticated, shared digital infrastructure with combined influence to secure relationships with vendors, international media companies and distribution companies. This is an exciting development for our organization, the COC and the city of Toronto,

as leading arts institutions come together to improve access to music, dance, stories and art.

Jointly, the companies have received a $650,000 grant from the Department of Canadian Heritage, with the National Ballet set to raise an additional $333,920 through Together for Ballet. The National Ballet’s Honourary Board has set a goal of raising $250,000 towards this project, spearheaded by Noreen Taylor, Honourary Board Liaison.

In the future, it is hoped that funds can be raised for the filming of one major production from the Four Seasons Centre each year. Such projects create additional opportunity for community engagement and new creative partnerships while expanding the company’s reach beyond traditional theatre settings.

“We’re going to build into our model regular capture of content to build a more robust catalogue. So, when we face this at some point in future — hopefully a long way away in the future — we will have solved that part of this equation.”

- Executive Director Barry Hughson

Noah Parets is sponsored through Dancers First by John Covington Jr and Robert Lukey.

Noah Parets filming The Dreamers Ever Leave You at Harbourfront Centre. Photo by Robert Binet.

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The National Ballet of Canada

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First Soloist Ben Rudisin on Working Through a Pandemic

Self-Isolation

A New Normal

Male Partnering

I appreciated time to read books, do puzzles and make and watch videos, but I also missed the studio, our routine and seeing colleagues.

I remained active by doing Pilates, class and workouts, but it was still a big adjustment. Usually we have an intense schedule, starting with daily class and up to 6 hours of rehearsal a day. It’s not the same to do barre work holding on to the kitchen counter. In a way, it was nice to give my body a rest, because dancers are often reluctant to take a long break, but once back in the studio, I realized how my hips and back had tightened up.

In August, I returned to small classes in the early afternoon, with only four dancers in a pod. We had a limited number of rehearsal hours, only three hours two days per week.

Harrison James and I shared a pod with Heather Ogden and Guillaume Côté, because the four of us were creating the new work by Jera Wolfe.

We finished a bit earlier in the day than usual, so I had more energy to take the dog for a long walk and make a nice dinner.

It’s a new sensation for Harrison and me to partner each other. It requires a level of letting go to be successful.

It was a steep learning curve for us.

We each gained insight into how we can improve our partnering, and especially how to communicate better. It’s a nice challenge.

Returning to Work Returning to the studio felt like going back to what we know, even in a reduced way with restrictions. It was nice to have the small things back: to see colleagues again and to feel there’s some sense of normalcy, even though it was a new normal.

I realized how much my body changed during the time off so I needed time to get myself back into a balletic way of moving.

Working with Jera Wolfe I first saw Jera’s work for Canada’s National Ballet School and I immediately wanted to do something with him. He has a unique way of moving – it’s very grounded, but there’s a lot of freedom in the movement. There’s an energy that flows through the body and releases at the end, like a swinging movement.

Jera likes to show each aspect and the work of the movement. He has a clear vision but at first it was a struggle to feel myself in my body, to know what he was asking for but not being able to deliver.

Harrison James is sponsored through Dancers First by Lucy White.

Ben Rudisin is sponsored through Dancers First by an anonymous donor.

Dancing with My Partner Harrison and I are often in the studio together but usually we don’t work directly together. It’s nice to have a romantic duet together and Jera wants it to be a reflection of our relationship, our closeness and intimacy. It’s rare to see a male duet, especially in classical ballets, so the opportunity makes me proud that my relationship can be included and represented in our art form.

Our Appreciation To donors and subscribers, thank you so much for all your support, even in these times when you’re not seeing us like you’re used to. Your generosity means a lot to us. We’re very appreciative of the security you’ve given us, the knowledge that we have a great company that is slowly coming back together.

Ben Rudisin and Harrison James in rehearsal for Soul. Photo by Karolina Kuras.

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A Quiet Champion: John H. Williams It has been my greatest privilege and pleasure over the past 15 years working at the National Ballet to come in contact with an extraordinary group of individuals who share a common passion for the art of ballet and the company.

Many are well-known in the Toronto arts community as philanthropists of note, while others have distinguished themselves as longstanding and devoted volunteers, donors and subscribers. They all make an important contribution to our story and I hope to bring some of these special people into focus.

Fundraising is about relationships, and what I have learned is that everyone has a story, and that I, along with my colleagues, are the keepers and guardians of these special memories.

One such story is that of John Henry Williams. Now, if you ever met John, you would recognize right away that he was shy and didn’t care for too much attention. Over the years we gradually came to know each other in a very quiet, organic way.

John’s wife introduced him to ballet when they were first married

in the 1950s and soon enough, the theatre became a favourite place for them as a couple. When John’s wife passed away, he kept up the tradition of attending the ballet in her memory.

John lived in a modest house in an area of Toronto called Old Weston and took the bus and subway to get to the Four Seasons Centre.

I was occasionally able to coax John to accept a ride to the theatre, especially in March. He attended Thursday evenings and Saturday matinees and always arrived in the Jackman Lounge dressed impeccably for the occasion. His greatest enjoyment was seeing each show at least twice in order to watch as many of his favourite dancers as possible. While John may have come to the theatre on his own, he was never alone. We all watched out for John in the lounge, as did his seat mates in Row D. John began as a Friends’ Corps member and gradually deepened his involvement, becoming a member of the Patrons’ Council for 14 years. One day John asked to see me, and made the trek down to the Walter Carsen Centre. He wanted to discuss what

his legacy would be and wanted my opinion on the best way to go about it. After our conversation, John confirmed that he would leave a gift to the National Ballet in his will. John joined the Celia Franca Society, our legacy program, that recognizes and celebrates individuals who leave gifts to the National Ballet in their estate plans.

John passed away quietly on November 17, 2018 at the age of 97. His obituary asked only that we “Attend a performance in his memory. He would like that.” So, as John did for his wife, we shall do for him. When we return to the stage, we will honour John with a matinee performance.

There are many stories like John’s in the history of the National Ballet.

I am so pleased that John’s love for and commitment to the company will live on through his generous legacy gift and the John H. Williams Fund in the Endowment Foundation.

John’s gentle presence is missed by the company and will never be forgotten.

– Diana Reitberger, CFRE Director of Development

Remembering our Friends Henry Pankratz The National Ballet of Canada mourns the passing of former Board Chair Henry Pankratz on August 13, 2020. Together with his wife Julia, Henry was devoted to his family, friends, community and country. Henry served as Chair of the Board of Directors from 1999 to 2001 and as Vice-Chair of the Endowment Foundation Board from 2000 to 2004. Henry and Julia were very involved in the early days of the Patrons’ Council and held many memorable events in their home.

Maxine Goldberg Maxine Goldberg, a cherished part of The National Ballet of Canada family, passed away peacefully on January 5, 2021. Maxine was a 40-year member of the Volunteer Committee, a member of the Celia Franca Society and Patrons’ Council, a subscriber and a champion for young talent, her most treasured role. She recently established the Maxine Goldberg Fund for Apprentices within the Endowment Foundation to ensure that her support for emerging artists will live on.

To make a gift to celebrate the lives of Henry Pankratz or Maxine Goldberg, please contact Lucy White at 416 345 9686 x333 or lwhite@national.ballet.ca.

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The National Ballet of Canada

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In Brief Lulu Wins International Film Award Lulu, choreographed by Guillaume Côté, directed by Ben Shirinian and produced by Lookout, won Best International Short Film at the 2020 Milan International Film Festival, MIFF Awards. The film was created as part of Expansive Dances, a series of three short films released in September 2020 to launch the National Ballet’s first virtual season. Lulu features Principal Dancer Heather Ogden and is set to Max Richter’s November.

Expansive Dances is made possible by the generous support of The Delaney Family Foundation and Sans Limites.

Heather Ogden in Lulu. Photo by Lookout.

We Applaud Rolex Canada The Rolex Dancers First Award and Dinner has provided a celebratory start to the National Ballet’s performance season since 2010.

Last fall, with the cancellation of our 2020/21 season, Rolex made the decision to donate the combined value of their annual award, dinner and health and wellness sponsorship to the company as part of the Together for Ballet Campaign. This additional support to our artists during this challenging year is deeply appreciated. A special thank you to Rolex for being such a loyal and caring partner.

Harrison James, Karen Kain and Maxim Lamarre, CEO Rolex Canada Ltd., at the Rolex Dancers First Dinner, September 2019. Photo by Christina Gapic.

The National Ballet of Canada

Preview Winter 2021

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Thank You for Your Words of Encouragement The dancers and musicians of the National Ballet would love to hear your words of encouragement and support.

Please share a personal message and we will make sure it reaches our artists.

“As in a strong pas de deux, one partner lifts the other. You lift our spirits with your grace, strength and beauty. Perhaps at this time, we donors can lift some of your burdens. Thank you for keeping the magic alive.”

- Irene Nickel

“I have always admired your strength and determination. Now with COVID, you are showing such imagination and creativity in finding ways to stay connected with audiences. Keep it going!”

- Wendy Goldenson

“Please all stay on pointe! Pretty soon the whole world will be dancing with you all.”

- Rajah Seegobin

Send Your Words of Encouragement national.ballet.ca/TogetherMessages Peng-Fei Jiang and Tirion Law in The Dreamers Ever Leave You. Photo by Karolina Kuras.

The Walter Carsen Centre for The National Ballet of Canada 470 Queens Quay West Toronto, Ontario M5V 3K4 Canada

Audience and Donor Services 416 345 9595 national.ballet.ca

The National Ballet of Canada is a registered charity.

Charitable Registration Number 11905 1449 RR0001