Dance Review – National Ballet of Canada/Alice’s Adventures in Wonderland


Photo by Karolina Kuras

This is my fifth or sixth go round with Alice’s Adventures in Wonderland (2011), and I doubt that there is another dance version of Lewis Carroll’s beloved book that strives to be truer to the original in its epic sweep.

Certain facts about the ballet remain constant. Christopher Wheeldon’s character-driven choreography is brilliant. Joby Talbot’s cinematic score is brilliant. Bob Crowley’s set and costumes, Natasha Katz’s lighting, Jon Driscoll and Gemma Carrington’s projections, and Andrew Bruce’s sound design, all brilliant. In short, Alice is a masterpiece, not to mention that the National’s dancers embrace this work like their own skin. They own it and they kill it. Maestro David Briskin and his orchestra know the music inside out, and the Four Seasons Centre was filled with glorious sound.

One might argue that Nicholas Wright’s storyline is a bit too crammed full, and that with three acts, the ballet is a tad too long, but quite frankly, which of the eye-popping scenes would you leave out? Not everything was perfect on opening night, however. As noted in last week’s mixed program, the corps work was a bit uneven and needed tightening. For example, the men in the deck of cards ensemble, who jump, turn and land on one knee in sequence, were noisy and rather clumsy when they hit the ground – but then, Maestro Briskin was conducting the orchestra faster than a speeding bullet so they were running for their lives.

The most significant debut in the opening night cast was Francesco Gabriele Frola in the dual role of Jack/Knave of Hearts, who is the danseur noble of the piece. Italian-born Frola was promoted to principal dancer in 2018, and he is a fine technician, clean and precise. He also is very musical, and you can see the music in his body. What Frola needs however, is some pizzazz. At the moment he seems a bit tame. He also has to get his acting chops into a higher gear. Frola is a talented, attractive dancer in need of a fire in his belly.

Of the other debuting dancers, Jenna Savella portrayed the slovenly Cook in the Pig and Pepper scene and brought clarity and strength to the role. As a result, I got a lot more out of the choreography than mass confusion. Jack Bertinshaw as his first March Hare gave the tap-dancing Mad Hatter (Donald Thom) a run for his money, and brought insight into that warring duet. Choreographer Wheeldon has given the two Footmen, Giorgio Galli (Fish) and Félix Paquet (Frog), lots of showy virtuosity, which these two dancers pulled off with aplomb. As for Meghan Pugh as the sleepy Dormouse, she was cute. Tina Pereira and Calley Skalnik were fetching as Alice’s sisters.

As a final comment, I’m finally starting to unpack the ballet, as it were. I’m pretty sure I now have a handle on all the choreographic stage business in the first scene garden party at the Deanery. (The family members and their guests all show up later as characters in Wonderland.) Simply put, Alice continues to captivate, and I am forever finding elements in the ballet that I never noticed before.


Photo by Bruce Zinger.

National Ballet of Canada, Alice’s Adventures in Wonderland, choreographed by Christopher Wheeldon, Four Seasons Centre, Mar. 7 to 17, 2019.

Dance Review: National Ballet of Canada/Frame by Frame (An Homage to Norman McLaren)

Dance Review: The National Ballet of Canada/Frame by Frame directed by Robert Lepage & choreographed by Guillaume Côté

Photo: Karolina Kuras

The world premiere of the National Ballet of Canada’s Frame by Frame left me stunned and speechless, the former due to the work’s eye-popping, even mind-boggling, visual assault on the senses, the latter because words can’t possibly capture the piece’s immense canvas of creativity. In short – Frame by Frame is a work of genius (directed by Robert Lepage and choreographed by Guillaume Côté) about a man of genius (Norman Mclaren).

The ballet is an homage to McLaren (1914-1987), the great film pioneer and founder of the animation department of The National Film Board of Canada, who made the name of the organization famous throughout the world. In fact, there is an oft-repeated belief in Hollywood circles that whoever is accepting an Oscar for best animated short subject, it is probably a Canadian.

I realize it is bad journalism for the writer to impose herself as first person into a review, but for this production, I can’t help myself. Viewing Frame by Frame is an intense personal experience. At the opening night, the bond between the stage events and the audience was so strong it was palpable. We were willing and able, so to speak. Our job was to react, and we did with enthusiastic response throughout the dance. The audience was totally alive, and I’ve never seen its like before at the ballet. We energetically clapped at the end of each scene, and tossed in whistles and whoops when we really, really liked something, not to mention our wholehearted laughter at some of the more humorous elements.

Photo: Karolina Kuras

The work itself is built around a succession of short vignettes devoted to a McLaren film, and usually highlighting one of his many collaborators. For example, we see McLaren (Jack Bertinshaw) and Evelyn Lambart (Greta Hodgkinson) portraying, in movement, their innovative technique of creating images directly on filmstrip for Begone Dull Care (1949), while behind them is projected an explosion of colours from the film. In fact, several of McLaren’s famous movies are actually recreated on stage, notably Neighbours (1952) and A Chairy Tale (1957). Some scenes also focus on McLaren’s personal life such as his relationship with his life partner, actor, director, producer Guy Glover (Félix Paquet). Clearly, this ballet has made second soloist Bertinshaw a star given his luminous performance, and the young dancer was inundated with a rousing chorus of cheers during his solo bows.

Photo: Karolina Kuras

At over two hours without an intermission, the piece is overlong, and at some point, my inner clock was telling me that Lepage needed a ruthless editor. Lepage, however, has always taken his own sweet time when it comes to showcasing his creative imagination and critics be damned. And to be truthful, just which of the divine cameos would you throw out? – and the answer is, absolutely nothing. Each of the scenes is a gem, bursting with a radiance of imagination that demands to be seen.

Lepage is one of Canada’s theatrical superstars with a world-wide following. His name is also synonymous with technology, and Frame by Frame is a tour-de-force of the astonishing images that can happen when lighting, video and projections meet live action. The play with light and shadow on a dancer’s body is eye-popping. Particularly fetching is when this production actually copies McLaren’s animation techniques and out does McLaren at his own game! At times it is even impossible to tell what is real life and what is recorded. Each vignette has its own breath-taking singularity. One prime example is the scene where NFB founder John Grierson (Tomas Shramek) meets with McLaren and Glover to invite them to join his organization. The three men are seated at a table while an overhead camera captures on a big screen their lively conversation portrayed by the patterns made by three pairs of hands. (See what I mean? These words just don’t cut it in describing the brilliance of the vignette.)

Photo: David Leclerc

Which brings us to choreographer Côté, the National’s choreographic associate, who has covered himself in glory with this ballet. His modus operandi is a combination of McLaren’s actual movement from his films and Côté’s own original steps. In the latter case, he has come up with unique movement for each vignette and there is never a hint of repetition. Completely delightful, for example, is the choreography for McLaren when he is in the throes of imagining a new animation technique. Bertinshaw’s body shimmies and shakes with supple ease while his arms twirl in circles. He is literally a whirling dervish with every part of him breathlessly alive and alert. He is the quintessential cartoon character with a light bulb over his head. Because Côté intimately knows the National’s dancers, he is able to cast judiciously, and in return, the company does him proud. In summary, Côté’s choreography is at the heart of the piece as it embraces McLaren as creator and collaborator. Solos, pas de deux, ensembles – every movement detail seems a perfect proportion of expression.

During the curtain calls, and there were many, I counted 19 performers and 13 members of the creative team. I don’t have the words to convey the triumph of the score, sets, costumes, and particularly the lighting and video designs. To do these elements justice would be an overwhelming task. Lepage always works with an army of collaborators when he is developing a new work for his Ex Machina company, and clearly, for Frame by Frame, he brought along his A-team.

Photo: Karolina Kuras

Collectively, Lepage, Côté et al. have created one of the greatest ballets ever made in Canada/fait au Canada. It is a masterpiece.

Frame by Frame, The National Ballet of Canada, directed by Robert Lepage, choreographed by Guillaume Côté, Four Seasons Centre, Jun. 1 to 10, 2018.


Link to Frame by Frame tickets:


Dance Preview: Choreographer Kathleen Rea’s Men’s Circle – Dance Meets Psychotherapy

Kathleen Rea
Photo Simon Tanenbaum

Introduction to Kathleen Rea

Men’s Circle (Nov. 3-5) is Rea’s exploration of the vulnerability of men. She is the creator, writer, director and choreographer.

As a parallel career to her dance projects, Rea has maintained a private psychotherapy practice for 15 years. The wellspring of Men’s Circle was inspired by her own clients. Her life progression has been a journey from a troubled ballerina with an eating disorder, to a well-adjusted mother of two.

Rea studied at Canada’s National Ballet School, and was a professional dancer in Canada and Europe until she was 30. She performed with Ballet Jorgen, the National Ballet of Canada, and Tiroler Landestheater in Innsbruck, Austria. According to Rea, her body was too voluptuous for ballet standards, so her solution was bulimia. From the age of 15 to 25, her life was dominated by the eating disorder. Only during her last five years as a dancer did she have her health back.

Frames of Control (1996) choreographed by Kathleen Rea
Photo by David Hou

Her interest in psychotherapy was an outgrowth from her battle with bulimia, and she practices a specific type of arts-based treatment. Her acclaimed work Frames of Control (1996) signalled her victory over both the eating disorder and her poor body image. The clever ending featured a naked Rea jumping through a door frame to freedom. The ballet years also took their toll in other ways. Rea stopped dancing when her knees ran out of cartilage. Happily, she discovered contact improvisation, which allows her to keep moving, as it were. As a choreographer, she regards herself as a storyteller.

The Interview

We should really start with how and why you became a psychotherapist since there is a direct connection to your new piece Men’s Circle.

When I sought out treatment for my eating disorder, I looked for arts-based therapy because I’m an artist. Most therapies for eating disorders involve a reward system through food, but my treatment involved working out problems through the arts – healing through the arts, and I fell in love with it. I studied at The Create Institute which offers a three year Masters program in expressive arts therapy training. It’s affiliated with the European Graduate School in Saas-Fee, Switzerland. I spent the winters in Toronto and the summers at the school. My Master’s thesis ultimately grew into my book, The Healing Dance: The Liife and Practice of an Expressive Arts Therapist, which was published in 2013.

Can you give me an example of arts-based therapy?

Having the client draw pictures as a way of expressing a problem. Telling stories opens up new perspectives.

You call yourself a storytelling choreographer. Can you explain?

 I first fell in love with ballet through the amazing stories it told through movement. In contemporary dance, stories are not popular, but all my dance pieces have a narrative line. The stories in Men’s Circle are told through text, song and dance. Tristan Whiston is my dramaturge, and we’ve worked on nine projects together. He helps me with the script, and sits with me in rehearsals making sure that the stories are getting told. He works on acting moments with the dancers.

How did you discover contact improv?

Bill Coleman
Photo by Olya Glotka

I had done some contact in Innsbruck so I was familiar with it. When I came back to Canada in 2000, I missed the feeling of family that you get from dancing in a company. I founded the Wednesday Contact Jam at Dovercourt House so I could be surrounded by a community of dancers. About 30 to 40 people show up each Wednesday, and I bring in a different musician each time to provide the live music that we move to. Dancing with people makes me so happy. I also teach contact at George Brown College.

What is it that you love about contact?

For me, it’s about following momentum, in your own body or with a partner. In contact you’re a momentum surfer.

Besides your clients being an inspiration, Men’s Circle also has a connection to your oldest son.

Wyatt, who’s seven, was diagnosed with high functioning autism. In marking his symptoms, I saw that I checked all the boxes when I was younger. I was extremely sound sensitive and socially awkward. It explains many things about my life. When there is an autistic meltdown, I know that we have to be removed from the sensory overload. I know what situations we have to avoid. Autism does not mean that something has to be fixed. Autism does not mean that you have to figure out what’s wrong. Autism means you accept what you have to do. One of the characters in Men’s Circle is inspired both by my son and by my own experience.

Photo by Olya Glotka

Men’s Circle is all about vulnerability. You certainly have taken a very sympathetic approach to the male experience.

There’s not a lot of room in our culture for talking about men’s vulnerability issues. The Movember movement, which wants to raise awareness about men’s mental health, calls the suppression of male emotions and feelings “the silent epidemic”. Suicide is the number one cause of death in men between the ages of 19 and 35. As well, men make up 75% of all suicides in Canada. The discussions about rape culture and accusations of sexual assault and harassment where women are victims dominate the news, but there is a “nurturance” gap in terms of men – by that I mean the physical and emotional nurturing of men. If we taught boys compassion and empathy, if we let boys cry, there would be less women victims. We have to create a world for boys that is not so narrow. We need to have a bigger conversation about men and vulnerability. Men’s Circle is about letting men tell their stories – giving them a voice.

Since your piece is storytelling, there must be characters.

There are seven characters, each with his own vulnerability. All of them belong to the same therapy group. Actually, the idea of a therapy group came later because I needed a connective tissue to link the stories together. The narrative follows the characters as they go through their individual journeys which all involve a learning curve. I gave them regular guy names so the audience could relate to them.

Rehearsal photo by Olya Glotka

Can you describe each man?

Joe holds back on his emotions, hiding behind bravado humour. He learns to weep. Kevin is high functioning autistic, a music savant who still lives with his parents. He loses his virginity and learns how to make friends. Matt is the most unstable and his emotions overflow. He becomes suicidal, but then he does find some grounding. Ran is the youngest. He’s at the group because it is court-mandated. He was caught selling drugs, and feels he’s “too cool for school”. Hercules grew up in a rough neighbourhood where he saw a lot of death. He wants a career as a ballet dancer, and is a perfectionist because he believes that, for a black man to get ahead, he has to be better than everyone else. He has faced systemic racism. Frank is the ghost of a client who killed himself, and he follows the therapist around. He can’t leave until the therapist forgives himself. And finally, Michael is the therapist, and he needs healing too. Frank was in a previous group. He had called the therapist for help, but Michael was too late to stop Frank’s suicide. When Michael is finally able to forgive himself, he can help the men in his present group. Incidentally, Harold Tausch who plays the therapist started a men’s support group 25 years ago, and it’s still going strong. (For the performances, the role of the therapist was played by Paul Lewis, due to Mr. Tausch’s illness.)

How do these stories play out in choreography?

The other dancers are support people for each story. For example, Matt comes from an unstable family, and this is shown through the other dancers lying on the floor, and Matt walking on the unstable surface of their bodies. Or, Joe reveals he failed grade two, so they all celebrate with a failed grade two party.

Contact improv is done in the moment. How is this handled in Men’s Circle?

Rehearsal photo by Olya Glotka

The show will be different at each performance because 25% is completely improvised. It’s structured improv so there are rules. For example, the dancers are given an emotional task and a specific shape that is different each night, and that they have to work out. There is also the breath canon. A dancer can only breathe when they touch a different part of a person’s body each time, or touch a different person. They perform in their underwear and they look both beautiful and vulnerable. The most impactful kind of theatre is when someone on stage doesn’t know what to do because its spur of the moment. It’s enhanced vulnerability.

You’ve got some really well-known dancers like Allan Kaeja and Bill Coleman. How did they happen to be in the piece?

All of them come to the contact jam. That’s how I know them. I just asked them to work with me, and they all said yes.

Men’s Circle, presented by REAson d’être dance productions, Betty Oliphant Theatre, Nov. 3-5. Tickets:







Dance Preview: Catching up with Matjash Mrozewski – the choreographer/director has two premieres

Introduction to Matjash Mrozewski

The next two weeks feature two Mrozewski premieres. Future Perfect Continuous, created with Anna Chatterton, (ProArteDanza, Nov. 1-4), and Abiding, a solo for Evelyn Hart (Older & Reckless, Nov. 10 & 11).

Mrozewski graduated from the National Ballet School in 1993. During his career as a dancer, he performed with the National Ballet of Canada, Le Ballet du Grand Théâtre de Genève, and Les Ballets de Monte Carlo. Early on he had shown a penchant for choreography, and his promise was revealed in the widely acclaimed A Delicate Battle created for the National Ballet of Canada in 2001. That year he stopped dancing, and given his enormous gifts as a dancesmith, it was expected that he would launch a successful international career. The proof lies in his creations for over 13 ballet companies that span the globe. He also choreographed for films, flash mobs, galas, classical music concerts and musicals. The road ahead seemed very clear – a lauded career as an international choreographer.

While the dance pathway is still very much in his life, Mrozewski has also added a new skill set. In 2016, he graduated from the two-year York University/Canadian Stage MFA program, whose focus is large-scale theatre direction. Subsequently, he has directed Shakespeare’s A Comedy of Errors in High Park, and Jordan Tannahill’s Botticelli in the Fire, which won a Dora Mavor Moore Award for Outstanding Production, and netted Mrozewski an Outstanding Direction nomination, which joins his two Dora nominations for Outstanding Choreography.

Mrozewski’s world premieres for ProArteDanza and Older & Reckless, which debut over the next two weeks, reflect both his choreographic and theatrical hats. (Note: in the next few months, he also has new dance and/or theatre pieces for Ryerson University, George Brown Theatre School, the George Randolph Academy, and a Secret Shakespeare performance.)

The Interview (where upon Mrozewski, now 41, talks about his MFA and his two new pieces).

Let’s begin with your going back to school. That was a big bite of two years out of your life.

I had been a dance professional for 20 years, but at that point, I felt I needed to take stock of where I was in my career. I needed different challenges. I had a hunger to learn something new – to step away from the obvious track. A lot of needs were colliding together, and the MFA program seemed to provide a solution.

Why stage direction?

I had always had an instinct for text, and I felt that this MFA course would put me in touch with the tools I needed to work with language and dramaturgy – to develop my theatrical side. It would also open doors to the worlds of theatre and opera. My main motive was a desire to become an opera director – it still remains a strong interest.

How different was it to work with actors?

I love working with actors, because I really enjoy analyzing text. With dancers, you guide them from the outside. With actors, you give them clues to manifest ideas internally. Words are concrete and can get to the heart of things, while movement deals with abstract states. When I started the MFA program, my eye was strong but my ear was weak. The greatest lesson I learned was how to lift the text off the page – to develop a point of view about what the playwright is trying to say. I was clear in my mind on the “why” of the text, but I had to learn to articulate these thoughts in words.

Your ProArte piece, Future Perfect Continuous, is certainly text driven, which is a departure for the company.

Artistic director Roberto Campanello wanted to push his dancers in new directions, and he thought they were ready for that kind of stretch – the marriage of text and movement. In truth, the performing arts are all playing in the same zone. The walls are blurring between the disciplines, and I had been moving in this direction. A recent work I did for the National Ballet School included a long spoken monologue, while a new piece for Ballet Kelowna used the dancers’ voices.

How did you come to work with playwright/librettist Anna Chatterton on Future? She’s a really creative force in both the theatre and opera worlds.

A mutual friend suggested her, and I saw her work Quiver at Buddies. She’s certainly very versatile. We met for dumplings and really got along. In our first workshop, it was inspiring to watch Anna toss around language and text.

What is your point of departure for the piece?

Anna and I started with a discussion about the future – what in our lives were we most concerned about? For both of us, the question was, how do hope and optimism cope with denial and ignorance? We discovered that the place of hope was high in both our lives. It was important, however, that we not make the work a lecture. The dancers are not on a soapbox. We wanted to leave room for the audience to reflect on the subject, to relate to the dancers in their feelings of frustration and inadequacy, to think about the concerns we raise. Things are not tied up neatly.


Just how much text do the eight dancers have to deal with?


It’s 35 minutes long, and contains about 25 minutes of spoken word, which includes monologues and conversations. The dancers are really meeting the challenge of moving and talking. The audience is going to need their ears opened as much as their eyes to catch what they’re listening to.

What’s the choreography like?

It’s not classical dance, but there is still formality in the structure. It’s very physical – ritual-like gesture, floor work, contact partnering. It’s fluid, responsive and quite earthy.

What about Anna’s text?

The dancers are seen working out their frustrations about the future in both rage and hope. As the size of the problems facing them grows, the text descends into doubt and vagueness and incomplete sentences. It’s very human. It’s about life. There is also humour, which is one of Anna’s trademarks.

Did you fit in music with the text?

The underscore is an orchestral version of songs by the alternative British rock supergroup Minor Victories.

Let’s talk about your Older & Reckless piece for the great ballerina Evelyn Hart, although in terms of dance, she’s a senior citizen.

Claudia Moore, O & R’s artistic director, wanted Evelyn on the program, and she thought of me as choreographer. Like Evelyn, I’ve had the experience of ups and downs. The solo is a character study of a woman of a certain age, which utilizes Evelyn’s remarkable skill as a dramatic actress. I’ve set it to a luminous Handel aria.

Is Evelyn still a perfectionist? She used to demand a lot from her choreographers and dance partners.

We spent ten hours in a rehearsal room, meeting once a week. Dancers are trained to make choreography work, but with Evelyn, if something didn’t fit right, we fixed it. She’s very organic, quiet, delicate and powerful. Abiding is about her in this moment. Because it’s a piece for Older & Reckless, time has a bearing.

ProArteDanza, Fleck Dance Theatre (Nov. 1-4); Older & Reckless #40, Harbourfront Centre Theatre (Nov. 10 and 11); both shows are part of Harbourfront’s Next Steps Season (









Fall for Dance North Festival, Sept. 29 to Oct. 1 – Backgrounder

ffdn5Toronto used to be awash in national and international dance, but over time, financial problems led to the demise of key dance series. That is why Fall for Dance North is one of the best things to happen to the local dance scene in years.

FFDN is modelled after Fall for Dance, the storied series launched in 2004 by New York City Centre, the legendary home of performing arts in the Big Apple. With the idea of developing dance audiences, the premise is simple. Create programs with top-notch diverse dance companies, and charge only $10 a ticket, whether the front row of the orchestra or the last row of the balcony. Although the ticket price in New York is now $15, the format remains the same. Currently, the festival mounts five different programs over 10 nights. It is always an instant sell-out.

ffdn6Fast forward to Toronto, 2015, and Fall for Dance North. The visionary behind FFDN is 35-year-old, Turkish-born Ilter Ibrahimof who began his career in New York as an artists manager/agent before becoming a producer/presenter. In fact, for the last two years, he has been a curator – meaning helping to choose companies – for City Centre Fall for Dance. When Ibrahimof started his own management/presenting company in 2004, he relocated to Montreal (spurred on by a bad romantic break-up). By sheer coincidence, as of a couple of months ago, he now lives in Toronto because his life partner was accepted into law school here.

So what is the genesis of the northern version of Fall for Dance? Ibrahimof says it was sheer impulse. “I felt that Toronto was ripe for this kind of festival mode,” he relates. That impulse also coincided with a 2013 meeting with Mark Hammond and Madeleine Skoggard of the Sony Centre’s programming department. The encounter took place at a booking conference in New York; the Sony duo were looking for talent, and Ibrahimof was there as an agent selling talent. Ibrahimof’s idea of a Toronto version of Fall for Dance fell on willing ears, with Skoggard making it a pet project. Ibrahimof then came to Toronto to check out the Sony Centre, liked what he saw, and knew he had a venue. Fall for Dance North was incorporated as a not-for-profit company.

ffdn8What is quite astonishing is how Ibrahimof and Skoggard got FFDN ready in just two years, particularly since Ibrahimof virtually knew no one in the city. “I had to start by getting the dance community onside,” he explains. “You can’t drop a dance festival in the middle of a city and ruffle feathers. You need their support.” That meant starting at the top and approaching the National Ballet first. With Karen Kain giving the National’s seal of approval, Ibrahimof and Skoggard had to then create a board of directors. They also met with the various arts councils and funding bodies to explain what the festival was about, which was followed by the onerous task of writing grant applications. Most of the $650,000 budget has been raised, but to help cover a $50,000 shortfall, Ibrahimof has come up with a great plan – sell 20 of the best seats in the house for $500 each, which includes a tax receipt, backstage tour, and a signed, framed poster.

ffdn7FFDN’s tickets are $10, and there are two programs over three nights. Future festivals will be half Canadian and half international, but this festival debut is slightly more Canadian. The statistics are impressive – eleven companies that run the gamut from contemporary ballet and modern dance, to capoeira, flamenco, tap, South Asian and Aboriginal; two companies making Canadian debuts and one a Toronto debut; two world premiere commissions; and six performances accompanied by live music. The shortest piece is a three-minute solo, while the longest is a 32-minute ensemble for 19 dancers. Ibrahimof chose 90% of the repertoire, knowing exactly what he wanted to see on the stage.

ffdn4Education is an important component of FFDN, and is also a concrete way of involving the dance community. Dance Collection Dance, a Toronto group whose focus is dance history, has put together videos of Canadian dance performances which are being shown on flat screen TVs in the Sony lobby. The house programs, in partnership with The Dance Current, contain a dance guide to the whole Toronto dance season, as well as comprehensive notes on the performing companies and repertoire. There are also master classes and artists’ talks.

ffdn3Says Ibrahimof: “My dream is to have Fall for Dance North run four nights, with three unique programs featuring 15 to 20 companies – two programs at the Sony Centre, and one more adventurous program at a smaller theatre. This tried and true format attracts young audiences which is exciting. Any audience member in their twenties will not have experienced an international dance series in Toronto in their lifetimes. It is the right festival, at the right time, for the right city.”

ffdn1Program 1 (Sept. 29, 7:30).

The National Ballet of Canada (Ballet)

Toronto Dance Theatre (Modern)

Alvin Ailey American Dance Theatre (Contemporary)

Nrityagram (Toronto Debut/Classical Indian Odissi)

Inter-Hoop (Festival Commission/Aboriginal)

Atlanta Ballet (Canadian Debut/Contemporary Ballet)


ffdn2Program 2 (Sept. 30 and Oct. 1, 7:30).

Ballet BC (Contemporary Ballet)

Alvin Ailey American Dance Theatre (Contemporary)

Dance Brazil (Capoeira)

Peggy Baker and Sarah Neufeld, violinist of Arcade Fire (Festival Commission/Modern)

Dorrance Dance (Canadian Debut/Tap)

Esmeralda Enrique Spanish Dance Company (Flamenco)