A Thing of Wonder: National Ballet of Canada Mixed Program

The National Ballet of Canada performing George Balanchine's Theme and Variations.

It’s not every day you get a news hook attached to your dance review. But here you go, and hot off the presses: National Ballet of Canada principal dancer Guillaume Côté has just been appointed to the newly created position of choreographic associate, the company announced Sunday following the final performance of his No. 24, an eight-minute pas de deux performed to a live accompaniment of Niccoló Paganini’s virtuosic violin solo, Caprice 24.

No. 24, which was performed by three separate casts over a five-day run, was one of three works on the Mixed Program which opened last week at Toronto’s Four Seasons Centre for the Performing Arts. The other works were Jorma Elo’s Pur Ti Miro, a revival of the work which the Finnish choreographer first created on the National Ballet dancers in 2010; James Kudelka’s decidedly unballetic but indisputably powerful The Man in Black, inspired by an unusual series of hurtin’ songs by the late Johnny Cash; and, for the glittering finalé (and that is meant literally given the the abundance of faux diamonds which lent sparkle to the ballerinas’ necks and ear lobes), George Balanchine’s 1947 neo-classical masterpiece, Theme and Variations.

Dance Evolution: The National Ballet of Canada's Mixed Program

Evan McKie and Tanya Howard in Wayne McGregor's Genus. (Photo: Aleksandar Antonijevic)

Science and art perform an intriguing pas de deux in the work of Wayne McGregor, the British-born choreographer for whom dance provides a malleable framework for ongoing investigations into the mind-body relationship. Known for his angular and precisely articulated movement vocabulary, the 47-year-old trailblazer, who early on trained in modern dance in New York, has collaborated with cognitive scientists, cardiologists, polar explorers and robotics specialists to create visually exhilarating work.

His principal laboratory is his London-based Company Wayne McGregor (formerly Random Dance), which travels the world, disseminating McGregor's inquisitive and experimental approach to ballet and making him one of the world's most in-demand choreographers. His kinetic intelligence has brought him recognition from top academic institutions, including Cambridge, which in 2004 gave him a year-long residency as a research fellow in the Department of Experimental Psychology, and Plymouth University, which in 2013 bestowed upon him an Honorary Doctorate of Science degree. Appointed a Commander of the Order of the British Empire in 2011, McGregor is also something of a hero among dancers.

News that he would be returning this season to the National Ballet of Canada to stage Genus, his 2007 meditation on the evolutionary theories of Charles Darwin, had company members sharing their unadulterated glee through Facebook and Instagram during the rehearsal period earlier this winter. Dancers love McGregor because he offers them a brave new world of physical expression, combining extreme athleticism with lyricism, drama and emotional vulnerability. Weaned on 19th-century depictions of grace and elegance, they devour his dangerously off-kilter pieces whole.

Falling for Dance, Canadian Style

DanceBrazil performed Jelon Vierira’s Malungos at Toronto's Fall for Dance North festival. (Photo: Andrea Mohin)

Toronto fell big time for the inaugural Fall for Dance North festival that took over the city’s Sony Centre earlier in the autumn. An initiative of artistic director Ilter Ibrahimof and executive director Madeleine Skoggard, the two-part program showcased exciting new dance creation from across Canada, and other points around the world including New York where the Fall for Dance franchise launched in 2004. Like the original, Fall for Dance North (so-called because of the event’s revamped presence north of the 49th parallel) offered up a variety of dance styles at a cost of $10 a ticket. The Sony Centre, which seats approximately 3,200, was sold-out for each of the three performances that took place from Sept. 29 to Oct. 1 – proof that if you make dance affordable the people will come. But that wasn’t the only reason the festival packed them in.

Crash Landing: Le Petit Prince at the National Ballet of Canada

Dylan Tedaldi in National Ballet of Canada's Le Petit Prince. (Photo by Karolina Kuras)

Le Petit Prince, Guillaume Côtè's ambitious retelling of Antoine de Saint-Exupéry's classic children's story of a planet-hopping boy on a quest for truth, takes a wrong turn by over-complicating what in essence is a poetic tale simply told. The two-hour long ballet, whose highly anticipated world premiere took place at Toronto's Four Seasons for the Performance Arts last Saturday night, is fussily over-choreographed in places, resulting in a blurred focus. What does Côtê want to say about Le Petit Prince? After two hours of watching the ballet unfold against Michael Levine's cosmic set design and Kevin Lau's lushly descriptive original score, this remains the million dollar question. Correction. The two-million-dollar question.