Cesar Corrales and Tamara Rojo in Corsaire

To hear the screaming throngs of teenagers, you might think this was a Beatles concert in 1964. But no, it's dance students from all over the world joining together for the Youth America Grand Prix's gala at Lincoln Center, excited to see some of the greatest stars in dance today. Their rafter-shaking enthusiasm was heartening to hear, as they will no doubt become the performers, teachers, donors and audiences of tomorrow.

Actually, every single dance was a "best moment." In the first half of the YAGP gala, dubbed the "Stars of Tomorrow," 11 young dancers from the United States, Argentina, Portugal, Czech Republic, Japan and China displayed their outsized talents in solo variations. The young audience responded to the astounding turns and jumps that kept coming and coming.

Tiler Peck and Zachary Catazaro in Wheeldon's "Carousel," all photos Siggul/VAM

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Cullberg Ballet in Jefta van Dinther's Protagonist. Photo by Urban Jörén, Courtesy Cullberg Ballet

Spring performance season is in full swing! Here are three programs taking ballet off the beaten path.

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What makes a ballet truly Canadian? Sprinkle in a some lumberjacks, says Will Tuckett. That's just one of the many details we're loving about the brand-new production of Pinocchio that the British choreographer is creating at the National Ballet of Canada. Though it doesn't open until March 11, the company has offered several glimpses into the creative process with an ongoing video series. Check out Episode 2 below, which lets you be a fly on the wall during rehearsal. First soloist Skylar Campbell's movement as Pinocchio isn't what you'd expect to see in a ballet—he's all angles and no flow, but then again he's a puppet. This is one time we actually prefer a dancer's movement to be wooden, at least until he becomes a real boy.

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National Ballet of Canada dancers took barre in a very unusual location earlier this week: Toronto's Union Station.

Principal Heather Ogden led a group of company members through typical combinations to the delight of several surprised commuters. The event celebrated the Toronto Transit Commission's We Move You ad campaign, which features photos and videos of NBoC members dancing in various trains, buses and stations around the city.

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Heather Ogden in one of the "We Move You" ads

The campaign ran into a surprising controversy last month. The group Body Confidence Canada criticized the ads for not representing ordinary commuters. An online statement complained that the images "perpetuate unrealistic and highly regimented bodies as some sort of an ideal of 'beauty' " and that "the body type of most ballet dancers do not adequately represent those of most Canadians and dare we say most TTC users."

TTC spokesman Stuart Green pointed out to The Toronto Star that no one's ever had a problem when the organization has used athletes from major sports teams in its ads. Those body types don't exactly represent most Canadians, either. Neither do the unrealistic images of actors and models that surround us every day in all sorts of advertising and media.

Principal Naoya Ebe

But it seems the stereotype of skinny dancers makes them a target. Of course, ballet has a history of not exactly being open to diverse bodies. Still, it seems odd to object to celebrating what highly-trained dancers can do simply because their bodies don't reflect the general population. Obviously, depicting what's ordinary or everyday was not the aim of this campaign. (I, for one, would be much more excited about taking the subway if this was regularly happening on my way to work.)

Although the underground barre event had already been planned before the controversy erupted, hopefully it opened a few commuters' minds. Seeing some of what goes into creating a dancer's physique by watching an up-close-and-personal barre can be an eye-opening experience for non-dancers. Maybe, rather than being offended by the dancers' shapes, Torontonians were inspired by their abilities.

 

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Inside DM

BOOMERANG tests out the sand. Photo by Bryan Derballa for Beach Sessions Dance Series.

Take Me to the Beach

NEW YORK CITY Grab your sunscreen: Beach Sessions Dance Series puts performers on a stage right on the sand, presenting free site-responsive work and promoting creativity, public engagement and cleanup efforts at Rockaway Beach. Live music will accompany an excerpt of Laurie Berg’s The Mineralogy of Objects as well as BOOMERANG’s Repercussion the first night, while the second boasts world premieres from Rashaun Mitchell + Silas Riener and Netta Yerushalmy. A day on the beach plus free dance performances in the evening—what better way to close out the summer? Aug. 20 & 27. beachsessionsdanceseries.com.

Rosie Herrera Dance Theatre. Photo by Sara D. Davis, Courtesy ADF.

From Russia with Surrealism

NEW YORK CITY She’s been called the Pina Bausch of Russia. Tatiana Baganova, hailing from the Ural Mountains, brings Maple Garden (1999), a fantastical ballet with dreamlike sequences that sometimes turn into nightmares, and her sand-swept Sepia (2010) to The Joyce. It’s fitting that her company, Provincial Dances Theatre, is part of American Dance Festival’s first New York season, since her choreographic ability was nurtured at ADF. Titled ADF Presents, the week is shared with Rosie Herrera, the Miami-based choreographer whose com-pany returns to The Joyce with her zany Various Stages of Drowning: A Cabaret (2009). Aug. 1–6. joyce.org.

Iana Salenko. Photo by Bettina Stob, Courtesy Staatsballett Berlin.

Crowning Glory

ONLINE Another day, another star-studded ballet gala. So why are we talking about Cuba’s Ballet Royalty Gala? Not only will the performance be live-streamed, but so will the entire day leading up to the show. Catch a behind-the-scenes look at some of your favorite dancers taking class and rehearsing their variations and pas de deux before donning their tutus and stage makeup. The daylong event also promises dancer interviews and a tour of the newly renovated Gran Teatro de la Habana Alicia Alonso. The current lineup includes this month’s cover star Jurgita Dronina, plus Maria Kochetkova, Misa Kuranaga, Desmond Richardson, Daniil Simkin, Iana Salenko, Ivan Vasiliev and others. Aug. 20. improvedance.com.

Mark G. Meadows as Jelly Roll Morton. Photo by Christopher Mueller, Courtesy Signature Theatre.

That’s How You Jazz

ARLINGTON, VA When Jelly’s Last Jam premiered on Broadway, tapper Gregory Hines took home a Tony. So when Signature Theatre announced their new production, it made perfect sense to turn to Broadway for a choreographer—and who better than hoofer Jared Grimes? The musical centers on the life and music of jazz legend Jelly Roll Morton. With Grimes at the choreographic helm, audiences can expect high-energy dancing to match the infectious spirit of Morton’s music. Aug. 2–Sept. 11. sigtheatre.org.

Immersion in a Dreamworld

Robert Binet in rehearsal with Brendan Saye. Photo by Karolina Kuras, Courtesy NBoC.

TORONTO Major dance companies have been performing in museums more and more lately. The National Ballet of Canada is the latest museumgoer, partnering with the esteemed Art Gallery of Ontario to create The Dreamers Ever Leave You, by choreographic associate Robert Binet. A promising dancemaker on the international scene, Binet, who was mentored by Wayne McGregor at The Royal Ballet, intrigued New York City Ballet audiences last fall with the delicate spell of The Blue of Distance. Now, he will create an immersive environment for museumgoers to more fully experience the exhibit of mystical Canadian artist Lawren Harris. Aug. 31–Sept. 10. national.ballet.ca.

Nathan Sayers

Jurgita Dronina mixes old-world drama with new-world virtuosity.

Jurgita Dronina is doing fouetté turns with her back to me. Facing the far wall, she builds momentum with the precise placement of each demi-rond-de-jambe. She apologized ahead of time, explaining with a self-deprecating smile: “I can’t spot in the mirror. I’m always telling my partners, ‘Don’t worry, I’ll turn fine onstage.’ ”

On this particular morning, the National Ballet of Canada principal is working before scheduled rehearsals to prepare for two upcoming galas in Taipei and Singapore. First on the program is Aurora’s Act III pas de deux from The Sleeping Beauty, a ballet she’s performed numerous times, and I’m struck by how fresh the century-old choreography looks inside her body. Breathing into the retirés that mark the beginning of the solo, Dronina finds brightness and vulnerability. Her upper-body elegance extends into her port de bras and legs. But what she offers, first and foremost, is emotion. When she steps into first arabesque, her gorgeous extension comes with a surge of glee. She’s actually blushing—exactly what you’d expect of Princess Aurora on her wedding day.

It comes as no surprise to learn that Dronina considers dance and acting inseparable. While she has earned a reputation for her unremitting work ethic—mornings that often begin at 7 am, with personal training and Pilates before company class—she says this is all in service to the foundation she needs to perform. “I want to go onstage and lose myself,” she tells me. “I can’t be thinking about anything technical. That’s why I work so hard, so that onstage I’ve transformed.”

Dronina was born in Saratov, Russia, in 1986, but she grew up mainly in Vilnius, Lithuania, where her family relocated when she was 4. She started out studying ballroom dancing—following in the footsteps of her older sister—and then moved on to gymnastics, but found it physically grueling to no justifiable ends. “It was useless to me—to break my body for nothing? I didn’t see the purpose.” 

One day a choreographer came to the gym to lead the warm-up. Taking note of the 9-year-old Dronina’s musicality and grace, he suggested she try out for the local ballet academy. For the audition, the somewhat bewildered Dronina improvised a hip-hop solo. “The jury didn’t know what to think—but they started clapping,” she says with a laugh. “Then they accepted me.”

Dronina’s physique might seem genetically predisposed to ballet, but she claims that this is an illusion created by relentless work. Training six days a week at the academy, she was often told that she probably wouldn’t make it as a professional. “They told me, ‘You don’t have a jump, you don’t have the legs, you’re not turned out.’ ”

With Naoya Ebe in Nutcracker. Aleksandar Antonijevic, Courtesy NBoC

Soon, however, Dronina began competing at international competitions, winning gold and silver medals and proving her real power as a performer. After she finished her studies at the Munich International Ballet School, she accepted a position in the Royal Swedish Ballet from artistic director Madeleine Onne, who’d seen Dronina in competitions and been persistent in asking her to join. Onne cast her in soloist roles right off the bat, letting her attack the full spectrum of the company’s classical repertoire. Three years later, when Dronina was just 22, Onne promoted her to principal dancer.

Yet the Royal Swedish Ballet lacked the variety she was looking for, especially in the way of new commissions. Hankering for more creative breadth, Dronina joined the Dutch National Ballet in 2010. But Amsterdam never felt like home, and within a few years her focus began to shift again, especially after the birth of her son Damian Ulysses in 2012. (Dronina is married to former Dutch National Ballet dancer Serguei Endinian.)

“I started thinking it wasn’t the repertoire I wanted to dance until retirement,” Dronina says. “Amsterdam wasn’t the city I wanted my kid to grow up in. I was 29 and I thought if I stayed past 30, I might stay there forever.”

Rising to the challenge of La Sylphide.
Aleksandar Antonijevic, Courtesy NBoC

She put her feelers out for a new company, wanting one with a good balance between classical ballets and new works in a big, vibrant city that her whole family would enjoy. Canada was an attractive option from the outset: Her husband grew up in Montreal (and danced originally with Les Grands Ballets Canadiens). They spent 10 days in Toronto and fell in love with both the city and NBoC. “The dancers were so friendly and supportive, everyone sharing ideas and approaches to the work,” Dronina says, adding that she cried on the plane home. “I said to my husband, ‘My love, I don’t want to leave. I feel so good here.’ ”

Artistic director Karen Kain wasn’t in the market for a new female principal dancer. But after Dronina’s visit, Kain started to wonder whether she could make it work. “She was very special,” Kain says. “She has lovely articulation in her legs and feet. And she’s very technically assured—although I’m sure she doesn’t feel that way.” Kain raises her eyebrows knowingly. “And I really liked her. It seemed like it should happen.”

Dronina’s first season was full of the dramatic roles she thrives in. Last November, she danced Hermione in Christopher Wheeldon’s The Winter’s Tale, and loved what it demanded from her as an actress. “I talk in my head with every gesture,” Dronina tells me, referring to the climactic trial scene in which Hermione pleads for her life. The next challenge came from La Sylphide, set by Danish choreographer Johan Kobborg. I’d never danced a Bournonville ballet before and Johan was a great teacher. The style is so simple but so clear. You can’t add anything on top of it, like at the beginning I wanted to do something extra”—she demonstrates a little épaulement—“and he said, ‘No, no, no! Very plain. Very Bournonville.’ It was a totally different approach.” Her meticulous attention to detail paid off—reviews were unanimously glowing.

Rehearsing with Evan McKie in The Winter’s Tale. Aaron Vincent Elkaim, Courtesy NBoC

Dronina maintains a position as principal guest artist with the Hong Kong Ballet, now run by Onne, who continues to nurture Dronina’s career. Dronina also recently curated, hosted and danced in a gala in Vilnius, celebrating the 90th anniversary of the Lithuanian Ballet.

Meanwhile, her family takes full advantage of Toronto, often attending museums, galleries, concerts and festivals. Family is a huge source of stability in her life. “When I met my husband, my life changed. He didn’t judge my approach. He says, ‘This is what ballet should be, so much more than performing steps.’ Once I found happiness in life, I became happy in ballet.”

Yet Dronina maintains that her work is still fraught with a sense of struggle. “You get a new body every day. You see me in tendus and I’m crying. I have sweat dripping into a pool below me.”

And yet it’s these challenges that make her dancing most meaningful. Once company class is over, she puts the grueling technical work aside and dives headlong into character, setting and emotion. “At 11:30 am, I’m done. I can rehearse Giselle.” She meets my eye and her smile becomes radiant. “You achieve something and you think: Oh, it was worth it. Now I understand.” 

As Hermione in The Winter’s Tale. Aleksandar Antonijevic, Courtesy NBoC

Martha Schabas is the dance critic at The Globe and Mail in Canada and author of the novel Various Positions.

Although her parents were professional dancers, Fischer has come into her own with roles like the Queen of the Wilis in Giselle. Sian Richards, Courtesy NBoC

As the Tall Woman in Balanchine’s “Rubies,” long-limbed Hannah Fischer injects a saucy mischievousness into the choreography’s almost jazzy angularity. As the Principal Fairy in The Sleeping Beauty’s prologue, she exudes a benign authority and expansively serene grace. Whether in abstract or dramatic ballets, the National Ballet of Canada second soloist demonstrates an energized versatility and confident poise that is capturing the attention of audiences and critics alike.

Company: National Ballet of Canada

Age: 22

Hometown: Toronto, Ontario

Training: Rhythmic gymnastics, ages 6 to 11; then full-time at Canada’s National Ballet School

Accolade: 2015 winner of the International Competition for the Erik Bruhn Prize

All in the family: Both of Fischer’s parents had illustrious international performing careers. Now, her mother, Mandy-Jayne Richardson, is NBoC’s senior ballet mistress, and her father, Lindsay Fischer, is the principal ballet master. She admits that working under the daily scrutiny of her parents took some getting used to. “But they’re very good at what they do, and in the studio our relationship is strictly professional.”

Breakthrough moment: Fischer says she was “a hundred percent shocked” when Christopher Wheeldon chose her to dance the dramatically and technically challenging lead role of Hermione in the company’s premiere of The Winter’s Tale last November. Her achingly powerful portrayal of a wronged wife who finds the capacity for forgiveness earned her a standing ovation. Watching her reprise the role at the Kennedy Center in January, Washington Post dance critic Sarah L. Kaufman praised the way Fischer used her “ribbonlike form to suggest fragility and purity.”

Favorite roles: Although Fischer’s repertoire is already stylistically wide-ranging, she’s inspired by the challenge of portraying a character. “What I dream of doing are those meaty dramatic ballets.” She’s hoping Swan Lake’s Odette/Odile will come her way and would “just love” to dance Juliet. “Ballets where people die,” says Fischer, only half-jokingly, “somehow they just make you feel more.”

What Karen Kain is saying: “I’d been watching Hannah for years at the National Ballet School, and it was crystal clear she had great potential,” says the NBoC artistic director. “She’s extremely flexible, extremely musical and extremely intelligent. And she’s beautiful. It’s a wonderful package.”

Insider tip: “This profession really does test you,” says Fischer. “When you’re young, there’s a tendency to make everything into a bigger deal than it is. I had people always telling me it’s going to work out, but I had to find a way to believe that for myself.”

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