≈ 2 hours and 40 minutes · With intermission
Last updated: January 4, 2024
The powerful Shakespearean tragedy Romeo and Juliet is an enduring inspiration for choreographers throughout generations, both as a rich vehicle for layered storytelling and a dynamic showcase for virtuosic dancing. When Karen Kain, now Artistic Director Emerita of The National Ballet of Canada, commissioned the famed choreographer Alexei Ratmansky to create a new Romeo & Juliet in 2011 to open the company’s 60th anniversary season, she introduced a striking reinterpretation that will inevitably anchor the company’s repertoire for years to come. We are fortunate to have this brilliant production grace our stage once again, highlighting some of the finest members of this stellar company. It is wondrous, musical, expressive, and enchanting –and at times will move you to tears (as it does me)!
With this presentation, we officially welcome The National Ballet of Canada’s new Artistic Director, Hope Muir, to NAC Dance! We also acknowledge the amazing performances over many years of Principal Dancer Guillaume Côté, who will bring us his Romeo one final time during this run.
Toronto native Hope Muir was named Joan and Jerry Lozinski Artistic Director of The National Ballet of Canada in January 2022, succeeding Karen Kain. Her accomplished international career as a dancer, guest teacher, stager, rehearsal director and artistic leader is matched by her deep commitment to collaboration and innovation. The National Arts Centre is excited to partner with her on future presentations and projects. We welcome her with open arms and wish her a long and prolific career at the helm of this exceptional company.
Karen Kain, C.C., LL.D., D.Litt., O.Ont joined The National Ballet of Canada in 1969 as a member of the Corps de Ballet and premiered, at the National Arts Centre in 1970, her first lead role in The Mirror Walkers. Soon after, she was promoted to the position of Principal Dancer. International recognition followed and through a close creative partnership with renowned dancer and choreographer Rudolf Nureyev she reached new heights for a Canadian ballerina. Her dance career spanned an amazing 28 years during which she appeared at the National Arts Centre over 30 times. In 2005, Karen was appointed Artistic Director of her beloved company and, over the next 15 years, she raised the level of dancing, diversified the repertoire and resumed touring internationally. She stepped down from this role last year and was appointed Artistic Director Emerita.
Please join the National Arts Centre in paying tribute to her brilliant career, her artistic genius, her visionary leadership, and her stellar legacy.
Enjoy!
Welcome to Alexei Ratmansky’s Romeo and Juliet, The National Ballet of Canada’s signature adaptation of a great work of 21st century ballet. This is my first tour to the Nation’s Capital as Artistic Director and I could not be more excited to join the much-loved tradition of performing at the National Arts Centre. Thank you for receiving us so warmly.
Created for the National Ballet in 2011, Romeo and Juliet is incredibly musical and poetic in its imagery, with choreography that reflects the artistry and athleticism of the company today. Alexei is a wonderful storyteller, keenly attuned to the emotion and psychology of Shakespeare’s tragedy, and he imbues each character with personality and intention. The production’s design has the warm palette of a Renaissance fresco and will transport you straight to Verona.
Alexei created the lead role of Romeo for Principal Dancer Guillaume Côté, an outstanding artist who has contributed significantly to the artistic profile of the National Ballet and to dance in Canada. This will be the last time Guillaume performs Romeo in Ottawa, a city close to his heart. I hope you will join me in celebrating Guillaume as he reaches this milestone in his remarkable performing career.
With gratitude,
Few of the many Shakespeare works that have been re-imagined for ballet have had the lasting impact and been embraced with as much affection as Romeo and Juliet. The story of two young lovers whose passion is tragically thwarted by the enmity of their respective families has inspired numerous choreographers over the decades, attracted by the enduring power of its themes and narrative and by its potential for dramatic and evocative dancing.
In his adaptation of the play, celebrated Russian choreographer Alexei Ratmansky has given the familiar story a fresh and compelling re-telling. Created for The National Ballet of Canada in 2011, his version stays true to the play’s theatricality, romance and tragedy, plumbing the characters’ emotional depths and complexity with rare sensitivity. Ratmansky has created a Romeo and Juliet that is at once bracing and modern in its choreographic vigour, yet timeless in its dramatic urgency.
Scene I
Morning in the Italian Renaissance city of Verona. Romeo, son of Lord and Lady Montague, greets the awakening day. As the city comes to life, Romeo is joined in the lively town square by two friends, Mercutio and Benvolio. The bitter enmity between the Montague and Capulet families emerges with the arrival of Tybalt, a Capulet. Innocuous teasing escalates into swordplay as Tybalt fights with Benvolio and Mercutio. Lord and Lady Capulet and Lord and Lady Montague enter and there is a brief lull in the fighting but soon the Lords also take up swords. The Duke of Verona enters with his guards and intervenes, chastening all of the combatants. The crowd parts, revealing the bodies of two dead young men.
Scene II
In her bedroom, Juliet, the daughter of Lord and Lady Capulet, plays affectionately with her Nurse as she prepares for a ball. Her mother enters and tells her of Paris, an aristocratic suitor, whom they expect Juliet to marry. Her father enters with Paris. Juliet is uncertain about the arrangement but she receives Paris graciously.
Scene III
A lavish ball at the Capulet home. Juliet is being presented by her father to the assembled guests. Disguised by masks, Romeo, Mercutio and Benvolio slip unannounced into the ball. When Romeo sees Juliet, he is immediately lovestruck. Romeo approaches her, professes his feelings and Juliet immediately falls for him. Tybalt, Juliet’s cousin, suspects the interloper and unmasks him, revealing his true identity. Enraged at Romeo’s effrontery, the hotheaded Tybalt demands revenge but he is stopped by Lord Capulet. As the guests depart, Tybalt warns Juliet to stay away from Romeo.
Scene IV
Later that night, Romeo waits beneath Juliet’s balcony. When she appears at her window he makes his presence known. Juliet comes down to him and, despite the danger of their situation which has now become all too clear to both, they pledge their love to each other.
INTERMISSION (20 minutes)
Scene I
In the market square, Romeo, delirious with love, is gently mocked by Mercutio and Benvolio. Juliet’s Nurse arrives, bearing a letter to Romeo from Juliet, agreeing to secretly marry him. Romeo is overjoyed.
Scene II
As planned, Romeo and Juliet meet with Friar Laurence, who has offered to marry them despite the risk, in the hope that it might bring peace to the warring families. He performs the the marriage ceremony for the two young lovers.
Scene III
Mercutio and Benvolio encounter Tybalt and taunt him. When Romeo enters, Tybalt challenges him to a swordfight but Romeo refuses. Mercutio is less reluctant and, after an exchange of insults, he and Tybalt cross swords and fight. Romeo seeks to intervene and stop them but inadvertently causes Mercutio’s death. A grief-stricken and guilt-ridden Romeo takes up a sword and kills Tybalt. The Duke arrives and as his guards bear away the bodies of Tybalt and Mercutio, he angrily banishes Romeo, who flees Verona.
INTERMISSION (20 minutes)
Scene I
Juliet’s bedroom at dawn. Romeo, although banished, has stayed for their wedding night. But now, however sorrowfully, Romeo must depart before they are discovered. After Romeo has gone, Juliet’s parents enter with Paris and tell her that she is to marry him the following day. She protests but her father brutally silences her. In despair, Juliet rushes off to seek assistance from Friar Laurence.
Scene II
In his cell, Friar Laurence gives Juliet a vial containing a sleeping draught that will simulate death. He plans to send word to Romeo, who will return to rescue her from the family burial vault when she has awakened.
Scene III
Juliet returns to her bedroom, where she pretends to bend to her parents’ will and marry Paris. Left alone, she takes the sleeping draught and falls into a death-like slumber on her bed. In the morning, Lord and Lady Capulet, Paris, the Nurse and several bridesmaids arrive to wake Juliet but find her unresponsive and believe her to be dead.
Scene IV
In the Capulet vault, Juliet lies still in her death-like sleep. Romeo enters, but not having received Friar Laurence’s message, believes Juliet is dead. In despair, he drinks a lethal poison to join her in death. As he dies, he sees Juliet awaken and realizes the cruel extent of what has happened. Juliet finds her beloved dead and kills herself in anguish. The Montagues, Lord Capulet, the Duke, Friar Laurence, and others enter to discover the terrible scene. Realizing the part their enmity has played in the tragedy, the Capulets and Montague are reconciled in their shared sorrow.
1. Ratmansky incorporates more dancing than some older versions of Romeo and Juliet, replacing certain mime scenes with movement. For example, Romeo’s first sighting of Juliet – and the moment they fall in love – is an exquisite lift sequence that alludes to their soaring hearts.
2. Sergei Prokofiev’s score has contributed to the enduring popularity of Romeo and Juliet and is one of the finest in ballet history. The music captures the emotion and drives events in the story, using recurring sounds and phrases to define the characters. For example, Juliet is depicted with the quicksilver violins, expressing her youth and innocence.
3. Richard Hudson, the Tony Award-winning designer of The Lion King, designed the sets and costumes. He used Renaissance paintings and frescoes as inspiration for the muted colour palette, fabrics, hats, headdresses, and cloaks.
4. The casting and creation of the ballet were captured in Moze Mossanen’s successful documentary for CBC television, Romeos and Juliets.
5. Ratmansky has created acclaimed new work for companies around the world and he has a particular interest in ballet history and revivals of legacy works. In addition to Romeo and Juliet, he has staged revivals of The Sleeping Beauty, Swan Lake and La Bayadère.
Hope Muir is an acclaimed dancer, teacher and director whose 33-year career spans two continents and a range of classical and contemporary styles. Born in Toronto, she is one of the first graduates of Peter Schaufuss’ London Festival Ballet School and a former dancer at the English National Ballet, Rambert Dance Company and Hubbard Street Dance Chicago. In 2009, Hope assisted Crystal Pite with the creation of Emergence for The National Ballet of Canada and has since helped to stage the work internationally. She has assisted numerous choreographers in this capacity, staging work by Christopher Bruce, Javier De Frutos and Helen Pickett, among others. Hope is the former Assistant Artistic Director of the Scottish Ballet and in 2017, she was appointed Artistic Director of Charlotte Ballet in North Carolina, where she expanded the repertoire and established the highly successful Choreographic Lab. She assumed the role of Joan and Jerry Lozinski Artistic Director of The National Ballet of Canada on January 1, 2022.
Barry Hughson joined The National Ballet of Canada as Executive Director in 2014. Since that time, the company has accelerated its trajectory of artistic growth, fiscal responsibility, community engagement and international acclaim. In 1988, Barry began his professional career as a dancer with The Washington Ballet, performing at the Kennedy Center and internationally. As an arts executive, he has led a variety of arts institutions in the US, including The Warner Theatre, Complexions Contemporary Ballet, American Repertory Ballet, Atlanta Ballet and Boston Ballet. For nine years, he served on the board of Dance/USA, North America's largest service organization for professional dance. In partnership with Dance/USA and The Royal Ballet, Barry spearheaded the first meeting of international executive dance leadership in 2015. In Canada, Barry was a member of the Coordinating Committee for Respectful Workplaces in the Arts, where he chaired the working group responsible for the development of a nationwide Code of Conduct for the Live Performing Arts. He currently serves as a member of the Steering Committee for the Canadian Acts Coalition and as a member of the Advancement Committee for the International Society of Performing Arts.
Music Director and Principal Conductor of The National Ballet of Canada since 2006, David Briskin is widely recognized as one of contemporary ballet’s most accomplished conductors.
Prior to moving to Canada, David lived and worked for 23 years as a conductor in New York City, working in opera, ballet and in concert. He conducted for seven years with American Ballet Theatre at the Metropolitan Opera House, New York City Center and in major opera houses throughout the world and was a seasonal conductor for New York City Ballet. In addition, he has conducted for nearly all the major North American ballet companies.
Highly in demand internationally as a guest conductor, David has appeared with The Royal Ballet, Covent Garden, The Royal Swedish Ballet, The Royal Danish Ballet and Hamburg Ballet. He has collaborated and conducted many important world premieres including Alexei Ratmansky’s Romeo and Juliet, Christopher Wheeldon and Joby Talbot’s The Winter’s Tale and Wayne McGregor and Max Richter’s MADDADDAM. He has worked closely with composers Missy Mazzoli and Lera Auerbach and has served as Music Director for the Nureyev Legend and Legacy Gala at Theatre Royal Drury Lane in London, which is available on Marquee TV. Last season, he conducted the highly acclaimed concert production of Stephen Sondheim’s A Little Night Music at Koerner Hall.
David has appeared with orchestras and opera companies throughout Europe, Asia and North America including the Pittsburgh, Detroit, Baltimore, Cincinnati Pops, Fort Worth, Indianapolis, Windsor and Shanghai Symphony Orchestras, as well as Calgary Opera, Manitoba Opera, Opera Carolina, Lake George Opera and Sarasota Opera, among others.
Over the years David has been extremely active in arts education. In 2008, he was appointed Assistant Professor at the University of Toronto, Faculty of Music where he taught conducting and served as Director of Orchestral Activities and Conductor of the University of Toronto Symphony Orchestra until 2015. He was Conductor for the Juilliard School’s Dance Division for 13 years and has mentored several young and emerging conductors.
David has served on juries for the Ontario Arts Council, the Women’s Musical Club of Toronto and Sir Ernest MacMillan Memorial Foundation. He has been a strong advocate for musical life in Toronto speaking publicly on behalf of the National Ballet, Luminato Festival and the University of Toronto, among others.
Alexei Ratmansky was born in St. Petersburg and trained at the Bolshoi Ballet School. His performing career included positions as Principal Dancer with Ukrainian National Ballet, Canada’s Royal Winnipeg Ballet and The Royal Danish Ballet. He has choreographed ballets for Mariinsky Ballet, The Royal Danish Ballet, Royal Swedish Ballet, Het Nationale Ballet, New York City Ballet, San Francisco Ballet, The Australian Ballet, Kyiv Ballet and the State Ballet of Georgia, as well as for Nina Ananiashvili, Diana Vishneva and Mikhail Baryshnikov. His 1998 work, Dreams of Japan, earned a prestigious Golden Mask Award by the Theatre Union of Russia. In 2005, he was awarded the Prix Benois de la Danse for his choreography of Anna Karenina for The Royal Danish Ballet and was made Knight of Dannebrog by Queen Margrethe II of Denmark in 2001. In 2014, he won his second Prix Benois de la Danse for Shostakovich Trilogy.
Alexei was named Artistic Director of The Bolshoi Ballet in January 2004. Under his direction, The Bolshoi Ballet was named Best Foreign Company in 2005 and 2007 by The Critics’ Circle in London and he received a Critics’ Circle National Dance Award for The Bright Stream in 2006. In 2007, he won a Golden Mask Award for Best Choreographer for his production of Jeu de Cartes for The Bolshoi Ballet. In 2009, Alexei choreographed new dances for the Metropolitan Opera’s production of Aida. He joined American Ballet Theatre as Artist in Residence in January 2009 and is due to depart in June 2023. He will become Artist in Residence of New York City Ballet beginning in August 2023. In 2013, Alexei was named a MacArthur Fellow.
Born in Zimbabwe, Richard Hudson trained at Wimbledon School of Art. He has designed operas for Glyndebourne, Covent Garden, The Metropolitan Opera, New York, Teatro alla Scala, Maggio Musicale Florence, English National Opera, Scottish Opera, Kent Opera, Opera North, Wiener Staatsoper, Munich, Chicago, Copenhagen, Athens, Bregenz, Amsterdam, Zurich, Barcelona, Madrid, Brussels, Houston, Washington , Venice , Pesaro and Rome. He has also designed for the Aldeburgh Festival, The Royal Ballet, Royal Shakespeare Company, National Theatre, Royal Court, Almeida and the Young Vic. In 1988, Richard won an Olivier Award for a season of plays at the Old Vic and a Tony Award for The Lion King. Richard is a Royal Designer for Industry. In 2003, he won the Gold Medal for set design at the Prague Quadrenniale and in 2005, he was given an Honorary Doctorate by the University of Surrey. Recent work includes Leopoldstadt (West End and Broadway), The Nutcracker and Sleeping Beauty (American Ballet Theatre), Romeo and Juliet (Bolshoi Ballet), Le Coq D’or, La Bayadère and Raymonda (The Royal Danish Ballet), Das Rhinegold, Die Walküre, Siegfried and Götterdämmerung (Teatro Massimo, Palermo), Versailles (Donmar Warehouse), La Bohème (Bologna), Peter Gynt (National Theatre), Morgen und Abend (Royal Opera, Covent Garden and Deutsche Oper, Berlin) and Ballo in Maschera (Verdi Festival, Parma).
Jennifer Tipton is well known for her work in theatre, dance and opera. Her recent work in theatre includes To Kill A Mockingbird for London and on tour, Samuel Beckett’s First Love for Zoom and all of Richard Nelson's Rhinebeck plays. Her recent work in opera includes Ricky Ian Gordon's Intimate Apparel with libretto by Lynn Nottage, based on her play by the same name, at the Lincoln Center Mitzi Newhouse Theater; her recent work in dance includes Liz Gerring’s Harbor at ICA in Boston and Amy Hall Warner’s Somewhere in the Middle for the Paul Taylor Company. Among many awards she has received the Dorothy and Lillian Gish Prize in 2001, the Jerome Robbins Prize in 2003 and in 2008 she was awarded the USA “Gracie” Fellowship and a MacArthur Fellowship.
Celia Franca founded The National Ballet of Canada in 1951 with the goal of presenting the best of classical and contemporary ballet. Today the company is among the world’s finest, with 70 dancers, an in-house orchestra and a permanent home at The Walter Carsen Centre in Toronto. The National Ballet has a history of pre-eminent Artistic Directors and, starting January 2022, welcomed new leader Hope Muir.
Renowned for its diverse repertoire, the company performs traditional full-length classics, embraces contemporary work and encourages the creation of new ballets as well as the development of Canadian choreographers. The company’s repertoire includes works by Frederick Ashton, George Balanchine, Aszure Barton, Marie Chouinard, John Cranko, William Forsythe, James Kudelka, Wayne McGregor, Kenneth McMillan, John Neumeier, Rudolf Nureyev, Crystal Pite, Alexei Ratmansky, Christopher Wheeldon and the company’s Choreographic Associates Robert Binet and Guillaume Côté, among other creators.
In recent years, the National Ballet has become a top destination for creative partnerships and the building and staging of new work. Since 2011, the company’s highly skilled production team has worked from a state-of-the-art facility, The Gretchen Ross Production Centre, to build and store its glorious sets and costumes.
The National Ballet performs three extended engagements at Toronto’s Four Seasons Centre for the Performing Arts each year, augmented by national and international tours. The company has performed in Canada, the USA, the UK, Germany, The Netherlands, Israel, China, Japan, Italy and Mexico, with recent appearances in London, Los Angeles, Paris, Hamburg, Moscow, St. Petersburg, New York City and Washington, D.C.
Reaching audiences beyond the traditional theatre setting is one of the National Ballet’s highest priorities, particularly for children, youth and families. The company has a wide range of age-appropriate community engagement initiatives designed to share the joy and power of dance with young people in schools, hospitals, community settings and homes in ways that are meaningful and rewarding for them. YOU dance is the largest of these programmes and offers FREE workshops and performances to students in grades four through six.
The National Ballet upholds the principles of Equity, Diversity and Inclusion (EDI) in all aspects of its work and is taking important steps to better reflect Canada’s cultural diversity throughout the organization, its partners and audiences.
Canada’s National Arts Centre (NAC) Orchestra is praised for the passion and clarity of its performances, its visionary learning and engagement programs, and its unwavering support of Canadian creativity. The NAC Orchestra is based in Ottawa, Canada’s national capital, and has grown into one of the country’s most acclaimed and dynamic ensembles since its founding in 1969. Under the leadership of Music Director Alexander Shelley, the NAC Orchestra reflects the fabric and values of Canada, engaging communities from coast to coast to coast through inclusive programming, compelling storytelling, and innovative partnerships.
Since taking the helm in 2015, Shelley has shaped the Orchestra’s artistic vision, building on the legacy of his predecessor, Pinchas Zukerman, who led the ensemble for 16 seasons. Shelley’s influence extends beyond the NAC. He serves as Principal Associate Conductor of the Royal Philharmonic Orchestra in the U.K. and Artistic and Music Director of Artis—Naples and the Naples Philharmonic in the U.S. Shelley’s leadership is complemented by Principal Guest Conductor John Storgårds and Principal Youth Conductor Daniel Bartholomew-Poyser. In 2024, the Orchestra marked a new chapter with the appointment of Henry Kennedy as its first-ever Resident Conductor.
The Orchestra has a rich history of partnerships with renowned artists such as James Ehnes, Angela Hewitt, Renée Fleming, Hilary Hahn, Jeremy Dutcher, Jan Lisiecki, Ray Chen and Yeol Eum Son, underscoring its reputation as a destination for world-class talent. As one of the most accessible, inclusive and collaborative orchestras in the world, the NAC Orchestra uses music as a universal language to communicate the deepest of human emotions and connect people through shared experiences.
A hallmark of the NAC Orchestra is its national and international tours. The Orchestra has performed concerts in every Canadian province and territory and earned frequent invitations to perform abroad. These tours spotlight Canadian composers and artists, bringing their voices to stages across North America, the U.K., Europe, and Asia.
For the full National Ballet of Canada roster, visit https://national.ballet.ca/Meet/Dancers
The National Ballet of Canada gratefully acknowledges the ongoing support of the Canada Council for the Arts; the Ontario Arts Council; the City of Toronto through the Toronto Arts Council; the Government of Canada – Department of Canadian Heritage with the Honourable Pablo Rodriguez, Minister of Canadian Heritage; and the Government of Ontario with the Honourable Neil Lumsden, Minister of Tourism, Culture and Sport.
Juliet
Chelsy Meiss (Feb 2, 4)
Svetlana Lunkina (Feb 3)
Romeo
Ben Rudisin* (Feb 2, 4)
Guillaume Côté (Feb 3)
Mercutio
Jack Bertinshaw (Feb 2)
Spencer Hack (Feb 3, 4)
Tybalt
Peng-Fei Jiang*
Nurse
Rebekah Rimsay
Friar Laurence
Teagan Richman-Taylor*
Lord Capulet
Piotr Stanczyk*
Paris
Christopher Gerty
Benvolio
Albjon Gjorllaku*
Lady Capulet
Stephanie Hutchison (Feb 2, 4)
Alejandra Perez-Gomez (Feb 3)
Duke of Verona
Peter Ottmann+
Lord Montague
Trygve Cumpston*
Lady Montague
Selene Guerrero-Trujillo*
Prostitutes
Jenna Savella
Tanya Howard or Jordana Daumec
Juliet’s Friends
Koto Ishihara
Brenna Flaherty
Miyoko Koyasu
Alexandra MacDonald
Nobles and Citizens of Verona
Artists of the Ballet
* Debut
+ Guest Artist
All casting subject to change
Conductor: David Briskin
First Violins
**Yosuke Kawasaki (concertmaster)
Jessica Linnebach (associate concertmaster)
Noémi Racine Gaudreault (assistant concertmaster)
Marjolaine Lambert
Jeremy Mastrangelo
Manuela Milani
Emily Kruspe
Emily Westell
*Martine Dubé
*Erica Miller
*Oleg Chelpanov
*Andréa Armijo Fortin
*Renée London
Second violins
Mintje van Lier (principal)
Winston Webber (assistant principal)
Leah Roseman
Carissa Klopoushak
Frédéric Moisan
Zhengdong Liang
Karoly Sziladi
Mark Friedman
**Edvard Skerjanc
*Heather Schnarr
*Sara Mastrangelo
Violas
Jethro Marks (principal)
David Marks (associate principal)
David Goldblatt (assistant principal / assistant solo)
David Thies-Thompson
Paul Casey
*Tovin Allers
Cellos
Rachel Mercer (principal)
**Julia MacLaine (assistant principal)
Leah Wyber
Timothy McCoy
**Marc-André Riberdy
*Karen Kang
*Desiree Abbey
*Daniel Parker
Double basses
Max Cardilli (assistant principal)
Vincent Gendron
Marjolaine Fournier
**Hilda Cowie
*Paul Mach
Flutes
Joanna G'froerer (principa)
Stephanie Morin
*Kaili Maimets
Oboes
Charles Hamann (principal)
Anna Petersen
*Melissa Scott
English Horn
Anna Petersen
Clarinets
Kimball Sykes (principal)
Sean Rice
*Shauna Barker
Saxophone
* Robert Carli
Bassoons
Darren Hicks (principal)
Vincent Parizeau
*Nicolas Richard
Horns
Lawrence Vine (principal)
Julie Fauteux (associate principal)
Elizabeth Simpson
Lauren Anker
Louis-Pierre Bergeron
*Olivier Brisson
*Mark Constantine
Trumpets
Karen Donnelly (principal)
Steven van Gulik
*Benjamin Raymond
*Taz Eddy
Trombones
*Gord Wolfe (guest principal)
Colin Traquair
Bass Trombone
*Scott Robinson
Tuba
Chris Lee (principal)
Timpani/Timbales
*Michael Kemp (guest principal)
Percussion
Jonathan Wade
*Kris Maddigan
*Dan Morphy
Harp/Harpe
*Angela Schwarzkopf
Piano
*Andrei Streliaev
Mandolins/Mandolines
*Richard Green
David Marks
Carissa Klopoushak
Emily Kruspe
Principal Librarian
Nancy Elbeck
Assistant Librarian
Corey Rempel
Personnel Manager
Meiko Lydall
Assistant Personnel Manager
Laurie Shannon
*Additional musicians
**On Leave
Music
Pianist
Andrei Streliaev
Communications
Director of Marketing and Communications
Belinda Bale
Associate Director, Communications and Content Strategy
Catherine Chang
Senior Manager, Sales and Marketing
Vicki Munton-Davies
Development
Director of Development
Diana Reitberger, CFRE
Finance
Chief Financial Officer
Amanda Ram
Production
For a complete staff listing, please visit national.ballet.ca
The National Ballet of Canada gratefully acknowledges the generous support of the following:
Canadian Actors' Equity Association and IATSE locals 58 and 822
Mary Ross and The School of Dance, Ottawa, ON.
International Alliance of Theatrical Stage Employees