The National Ballet’s recent remounting, the first time Jewels has played in full in Toronto since 2006, is a fantastic, shimmering showcase for the corps de ballet, Balanchine’s legendary choreography, and the wonderful music of Fauré, Stravinsky, and Tchaikovsky.

The opening act of Jewels, “Emeralds”, is probably the most striking, if only because of the collective awe when the curtain first goes up and reveals the ensemble of sparkling green-clad dancers against an enormous, green screen-like backdrop. Set to excerpts from Gabriel Fauré’s Pelléas et Mélisande (1898) and Shylock (1889), Emeralds is at its best when the ensemble is on stage, and you get something of the effect of glittering jewels. Of course, Emeralds also features, as do Rubies and Diamonds, opportunities for individual and duet members of the ballet to shine. That Emeralds ends on an unusually downbeat note, the music fading away on a mostly empty stage, also makes it the most intriguing of the three.

Act II, Rubies, is a far jazzier affair, deploying Stravinsky’s Capriccio for Piano and Orchestra (1929) to great effect. Alternatingly intense and humorous, Rubies is the most propulsive of the three jewels, emphasizing the robust and exhilarating aspects of ballet. The one – not insignificant – misstep here is that, rather than the expected red, the background of Rubies is blue, the same blue which later serves as backdrop for the Act III “Diamonds”. Assuming there was no behind the scenes mix-up, we can only assume the Ballet made a conscious, if ill-advised, choice to depart from the expected colour scheme. (For reference, here’s the Bolshoi’s decidedly more scarlet version.)

The finale “Diamonds” is the most classically minded, borrowing from Tchaikovsky’s Symphony No. 3 in D major (1875) for a ballet which almost looks like a spinning, swinging Swarovski chandelier. The unadorned stage (with the aforementioned blue background) is most effective here, providing space for the stage-filling ensemble to dance in (almost) perfect sync. Though some scholars consider Symphony No. 3 to be one of the composer’s weakest, it works well for this latter third of Jewels, the act most consciously inspired by classical works such as Tchaikovsky’s own Swan Lake.

While the various jewels are often performed on their own, the National Ballet has afforded us a unique opportunity to see all three as they were originally intended. Absent a plot, or really any set decoration, it’s not quite as accessible as some other works, but still remains an incredible showcase.

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For more on the National Ballet, including the recent announcement of its upcoming 2024-25 season, click here.

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The National Ballet’s version, overseen by legendary dancer/choreographer Carlos Acosta, working alongside contemporary composer Hans Vercauteren, debuted in 2013 with the Royal Ballet (London), and is making its North American debut here at the Four Seasons Centre with this production.

While the ballet may lack the more memorable tunes found in the Tchaikovskys or Stravinskys of the form, it’s still a delight, with great music, fine comic stylings, and a couple of wonderful dance numbers, including the fabled pas de deux from the finale.

There’s some fine tilting at windmills in the National Ballet’s current production of Don Quixote, the set design combining lovely physical props with digital projections to capture the title character’s fantastical imagination. Indeed, the Act 2, Scene III attack on the windmills is one of the best parts of this remount.

Also fine are the dancers, who, on the evening your Toronto Guardian attended, included principal dancer Genevieve Penn Nabity as the maiden Kitri, fellow principal Harrison James as Basilio, her betrothed, and legendary sexagenarian Rex Harrington in the title role (who, a couple decades ago, wowed audience as Basilio here in Toronto in the same ballet).

The name Don Quixote for this ballet is honestly a bit misleading. While the character’s journey is used as a framing device, it’s really more of a pastoral love story centered on the young couple Kitri and Basilio. Quixote (Harrington) largely remains on the margins – or is wholly absent from – most scenes, while Kitri (Penn Nabity) and Basilio (James) are the real stars. That said, Sancho Panza (Jason Ferro) does his best to steal the show with his comic antics any time he’s on stage, his comedic counterpart being the foppish nobleman Gamache (Donald Thom), with his extravagant and ornate clothing, hair, and manner.

The score, adapted by Vercauteren from Minkus’s original composition, does a serviceable job of capturing the Spanish mood – there’s a lot of clapping and tambourines – though there are no real musical showstoppers. The set design really is rather lovely, with elegant scene transitions and at least one sequence – Quixote’s dream of a garden of dryads, all dangling vines and beautiful costumes – which comes closest to replicating the transcendent beauty of other, slightly more famous ballets.

From a dance perspective, the highlights are, as mentioned, the finale pas de deux – one of the highlights of the repertoire, in fact – as well as the two solo pieces, one for Kitri (Penn Nabity) and one for Basilio (James), which tee up the pas de deux. Throughout, there are plentiful opportunities for the National Ballet’s stellar ensemble to flex their muscles, from captivating Bohemian dances to formal ballroom affairs. There’s a reason why the National Ballet is regarded as one of the best ballet companies in the world, and shows like Don Quixote are proof of that.

Narratively, this Quixote doesn’t really capture the spirit of the satirical – and far funnier – source material, though it doesn’t have to. Resting on the tried-and-true formula of young love + dream sequence + at least one fancy dress ball, Quixote is more of a good-natured love story than anything else. That’s fine, and there’s more than enough here – the costumes/set design are just fantastic – to keep audiences engaged and entertained.

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For tickets to the National Ballet’s Don Quixote, click here.

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Describe your charity/non-profit/volunteer work in a few sentences.

My name is Pia Bouman. I am the founder and Artistic director of Pia Bouman School for Ballet and Creative Movement (1979 and a Registered charitable institution since 1987).  This is our mandate: Every child who has a wish the learn dance should be given the chance to learn dance. Every child who has the wish to create dance should be given the chance to be a creator of dance. Every child who has the wish to perform dance should be given the chance to be a performer of dance.

This mandate enables this school to fundraise for its Dance Education Program and for its Bursary Fund. Over all the years since the beginning of this school, hundreds of children have received full or partial support for their dance education and were able to follow their dream. In a non-competitive environment, thousands have learned to set goals, face challenges, and become team players and mentors.

What problem does it aim to solve?

We see dance as a tool that, if properly taught, helps young people gain self-confidence, build resilience, and nurture creative thinking.

When did you start/join it?

I founded the school in 1979 it was then named Let’s Dance. I applied for and received charitable status in 1987 and the school became Pia Bouman School for Ballet and Creative Movement. There is governance by a Board of Directors.

What made you want to get involved?

I have seen first-hand how stressful dance training can be and how, sadly enough, too many professionally trained students or students at a competitive school don’t get the chance to fully savour the rich rewards that come from knowledgeable and well-informed teaching, creating and performing.

What was the situation like when you started?

The general concept was and still can be that only “rich white kids” could (afford to) dance, that to be a child or person of colour would give you less chance, would close doors, and that physical (or mental) disability would close the door before it ever opens.

How has it changed since?

Here at this school: Creative Movement had the ability to give all young dancers a chance to be special. The bursary fund enabled children and young people from difficult socio-economic challenged homes to achieve their dream: Dance lead roles…Create dance for their peers, Dance and perform… and then move on with life, a beautiful experience richer.

What more needs to be done?

The dance programs: Classical, National, Contemporary and Creative Movement need support: One of the ramifications of the 3 years of the Covid pandemic and the aftermath is that dance has lost its face and presence in our lives, because of lockdowns, closures, interrupted dance education, dreams lost and not found…

How can our readers help?

See performances, and read about the value of dance as a healing and enriching source of creation. Art is what nourishes our souls.

Do you have any events coming up?

The School’s company YMI Dancing will have a series of four performances coming up: they will be performing in our Studio Theater: works by Bouman, Denichaud, and four students. reflecting connections will be performed on May 18, 7:30 p.m., May 19, 7:30 pm, May 20 matinee at 2:00 pm, and evening show at 7:30 pm.

Where can we follow you?

Website | Instagram | Facebook | Youtube | Twitter

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I have seen her dance many leading roles over the years, but my favorites are when she gets to exercise her dramatic prowess. She is a talented actress and has an incredible ability to convey emotions to the audience with the slightest gesture or glance. Like Tatiana in Onegin, Juliet in Romeo and Juliet or Blanche in A Streetcar Named Desire, I love when she takes the audience on a lifetime’s dramatic journey in just a few hours. Sonia is a versatile dancer and equally comfortable in contemporary pieces. Even without a storyline she mesmerizes audiences with her sophisticated interpretations of any choreography she has the opportunity to dance.

Off stage she is the proud mother of two teenage boys, a successful children’s author, has been recognized with an Order of Civil Merit by the Spanish government and awarded a star on Canada’s “Walk of Fame” for her accomplished career.

Sonia’s innate talent and unwavering dedication to her art form have captivated audiences for more than three decades. The next time the curtain rises with Sonia on stage, you will most certainly find me in the audience.

by friend Jennifer Kropac

What ‘hood are you in?

I moved to Davisville village five years ago. I just love the neighbourhood. We have everything we need in walking distance. From schools and parks, to restaurants, shops and movie theatres. We have been dealing with lots of construction, but it will be all worth it once the subway line is finished.

What do you do?

I perform. I have been a ballet dancer since I can remember and a professional one, with The National Ballet Of Canada, for the past 30 years. I like to try new things whenever possible and so I have also acted in a few short films and TV series. I also wrote a children’s book back in 2011, called T is for Tutu: A Ballet Alphabet.

What are you currently working on?

The professional dance world has been severely impacted by Covid and since March I have been deprived of performing on a stage. I am excited and happy to share that as part of this year‘s Fall For Dance North festival I will be able to perform at The Fleck Dance Theatre on a world premiere choreographed by Vanesa Garcia-Ribala Montoya, alongside two other colleagues from The National Ballet Of Canada.

Where can we find your work?

You can buy tickets for Fall For Dance North’s Signature Livestream Program at ffdnorth.com. The performance will livestream from The Fleck Dance Theatre on Oct. 3 and be available for viewing until Oct. 18. Keep an eye on announcements from The National Ballet of Canada for updates on their upcoming March season and digital content.

You can also find some of my work posted on YouTube and I am getting better at posting myself on my Facebook and Instagram pages.

The post “A Day in the Life” with Toronto ballet dancer Sonia Rodriguez appeared first on Toronto Guardian.

Recognition of her talents and artistic achievements began early in her career when Ms. Goh became the first Canadian to receive the Silver Medal at the Genèe International Ballet Competition in London, England and a prize at the illustrious Prix de Lausanne. In 2005, she received the New Pioneers Arts Award for her contributions to dance in Canada and was recently appointed as a member to the Order of Canada for her excellence in ballet as a principal dancer, artistic director and cultural ambassador.

Since September 2010, Ms. Goh has been the Director of the Goh Ballet Academy and Youth Company Canada. While in Vancouver, she also took on the role of Executive Producer to Goh Ballet’s critically acclaimed production of The Nutcracker; a large scale, professional production which provides mentorship opportunities to hundreds of aspiring dancers each year since its premiere.

What ‘hood are you in?

Bayview Village – but I have the best of both worlds. I’m so close to TTC that I can get downtown in 25 minutes, but also have Bayview Village Shopping Centre and the YMCA, lots of amenities and park spaces nearby.

What do you do?

So many things – where do I start? These days it’s a matter of priority for me. I’m a mom to Aveary who just turned 13, and Director of a dance organization that now has two locations across the country. I love my work as it enables me to bring my artistic vision to life and I’m able to nurture young dancers on their dance passage. I take pride in producing performance productions where I have 3 major projects a year, The Nutcracker, the June Showcases and The Global Dance Challenge.

What are you currently working on?

The opening of Goh Ballet Bayview is top of my list right now as we introduce our dance programs to the community in Toronto. I am often invigorated by new areas of my job that allow me to reach beyond just programming but play an integral part in defining the overall persona of Goh Ballet.

Where can we find your work?

My work is mostly reflected through my students who train in Goh Ballet’s programs or perform in a Goh Ballet production. Perhaps on a larger scale my advocacy for the importance of dance education and access to arts and cultural programs is evident through our engagement in the community. Some of our past graduates are now leading dancers on world stages. Dance is an art form that is passed on from one generation to another and it’s important for their work to now be seen.

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