April 2024

Down the Rabbit-Hole at GRPC

It's the day after Valentine's Day, February 15, 2024, and a small group of ballet fans, friends, and Silver Swan dancers meet at the National Ballet of Canada Gretchen Ross Production Centre for a tour of the facility. We are greeted warmly by Annemarie Cabri of Cabri Dance, dance instructor extraordinaire, Senior Teaching Artist and choreographer with the National Ballet of Canada and Canadian Opera Company, former dancer with the Dutch National Ballet corps de ballet, and for some of us, our beloved ballet teacher. Yvette Drumgold, Director of the Centre, who has graciously arranged this tour for us, will be our guide for the next two hours.  Most of us have no idea what this world is all about, and we are curious to learn more about what goes on behind the curtain.

Moving past the tall stacks of grey painted crates with stenciled lettering, one immediately gets a sense of the logistical challenge of keeping track of the contents for many different ballet productions, from Onegin to Sleeping Beauty, Pinocchio to Giselle.  Yvette explains that with the production of ALICE IN WONDERLAND scheduled for March 2024 at the Four Seasons Centre in Toronto, everything 'Alice' has taken over the shop.  There's a sense of urgency in the air.  The story of ALICE begins with her falling asleep, and then dreaming of WONDERLAND, a fantastical topsy-turvy world. So, while Alice is sleeping, the production crew hammers, welds, sorts, stitches, repairs, patches, and paints to prepare for the upcoming performance. As we move down the aisles, turn left, then right, and then loop back to take a look at something tucked in the corner, it's as if we are following Alice's twisty path through Wonderland. Throughout this tour we are amazed to discover how the Production Team bring their heads, hands, and hearts to the task of getting Alice ready for the stage.

Who are you? asked the Caterpillar.

We are introduced to other members of the Crew, all talented artists in their own right.  Yvette invites them to talk about how they ended up in the world of production. Sandy Middleton, Head Carpenter, begins his story by saying he had a brother who was a set designer who introduced him to this world of production. Will Leskevich, Assistant Scenic, started in photography and then found his way to set design, including sewing. Kelly Palmer, Set Designer, attended OCAD (Ontario College of Art & Design, now OCAD University) and studied and learned about metals, plastics, woodworking, painting, everything…to achieve her level of mastery. Yvette tells us about her education at Ryerson University, in the Theatre Production Program, and her early work experiences as an apprentice production assistant working in summer stock theatres across Ontario, for ridiculous hours, and ridiculous pay that ensured that she had 'no money, ever.'  And yet, by working every job, from building scenery, working the soundboard, doing lighting, and working everywhere, including opera and trade shows--she learned so much. The accumulated experience and collective wisdom of this group are truly impressive.

"If you don't know where you're going, nothing will be of any consequence." 

There is a clarity of purpose about this team, and a bigger vision in play:  This team is highly motivated to do more than satisfy the technical specs and desired functionality requested by the designer. Yvette emphasizes that as much as possible, work is undertaken by their crew, rather than being shipped out to other shops and contractors. Ensuring this "hands on" approach keeps them on their toes and ensures that the high standards held by the team are achieved. For example, understanding how a finished prop or set interacts with the intended lighting and movement of both props and dancers is crucial to a successful production. Kelly explains that testing the painted colours of a piece under different lighting conditions can result in necessary changes being made to achieve a desired effect. Selecting the ‘right’ fabric for drapery ensures just the right effect in terms of transparency.  This team of crafts-people work together to ensure that more ephemeral standards of beauty and artistry are achieved. 

The spirit of collaboration extends to other ballet companies. Costumes, props, and sets work very hard, sometimes travelling around the world as part of cooperative ventures with other ballet companies such as the American Ballet Company in New York, and the Royal Ballet in London.  The latter is planning to mount a production of ALICE later this year, and members of their production team will visit Toronto in March to learn more about the sets and staging. 

"Curiouser and curiouser"

Turning a corner, we are confronted by a copper cauldron stacked higgledy-piggledy with blood-stained, ferocious, feral-looking pigs!  We walk past the huge painted trees the size of totem poles, used in the production of Pinocchio. Further down the aisle we encounter the kitchen wall studded with broken dishes, pots and pans and kitchen utensils and smears of what looks like...blood?  Clearly I have completely forgotten the bloody kitchen confrontation involving the pigs in ALICE! Nearby the purplish psychedelic mushroom which contributes to Alice's ability to morph into a different size and shape lurks under a fabric cover marked, simply, Mushroom Shroud.  A lovely wooden sailboat,--the sail, bow and stern covered in text from the book--reminds us that some of the impetus for Lewis Carroll's story was a lovely day beneath sunny skies in July. We can visualize the dancers dressed as cards, perhaps standing on the painted wooden steps marked with clubs, spades, diamonds, and hearts. Walking back down the aisle…but, what? wait? did you see it? Was that the Cheshire Cat grinning as he hovered over Annemarie's left shoulder?  Oops, it's just my imagination.  Look, over there.  It's just Dan, smiling...

"What month is it? the Hatter asks Alice.  The Mad Hatter and Time have quarrelled, and Time won't move.

The clock is stuck at 6 o'clock in the story of Alice, but things move on in the world of ballet. Cherished versions of productions give way to new and innovative ones with designers eager to make their mark. Tired and frayed costumes, broken props, and outdated sets are replaced with new.  In some instances, staff succeed at finding new homes for things.  Some Swan Lake costumes were donated to the National Ballet School. Sometimes props, costumes, and scenery are sold to other companies, or rented out to other companies, and then returned.  Typically the scenery for a ballet is so specialized that it is difficult to repurpose.  And the quickly evolving world of technology is driving change.  For example, old lighting is being replaced with more efficient models.  Innovation in video production is challenging approaches to set design.  There's an interesting tension here:  Nostalgia for the past is mixed with excitement about new approaches, highlighting the paradox of how to preserve tradition and introduce innovation. 

"I'm late, I'm late..." said the White Rabbit.

Yvette emphasizes the important role of logistics in any ballet performance: There is no being late, there are no pieces left behind.  In the world of production, when a call is made, and a date is set, things are put on a ship, cross the Atlantic, land in Montreal or Halifax, move by rail to Brampton, get loaded onto a chassis truck and get delivered to the Production Centre on time.

"The secret, dear Alice, is to surround yourself with people who make your heart smile.  It's then, and only then, that you'll find Wonderland."

Our final section of the tour takes us into the Carpentry Shop. Everything here is extremely clean and orderly.  Old tools like those your grandfather might have used are displayed on pegboard mounted on the wall like a museum exhibit.  Sandy Middleton, Head Carpenter, introduces us to wood that bends around corners, called 'snake ply' or 'wiggle board'--miraculous!

Suddenly we stop and huddle as a group around a small workstation. Yvette shows us examples of tiny, perfect wooden cases, most unpainted.  One case, nearly finished, is a perfect replica of the large wooden prop boxes we saw as we entered the Centre.  It is painted in the exact shade of grey, with the circular stencil indicating it is a case of the National Ballet.  The case has been hand painted by Kelly Palmer, and created as a gift for members of the Company who are retiring; the first was gifted to Karen Kain, former Artistic Director of the National Ballet.  We are overwhelmed by the significance of these gifts, heartfelt offerings to beloved and esteemed colleagues on the occasion of their retirement. 

Our final stop is where we find John Miracle, Head of Props, a man charged with making all kinds of smaller props. We hear stories about the nerf-like snowballs used in The Nutcracker, and glowing fish used in Pinocchio.  The care and attention that the production team brings to the smallest details contributes to the vibrant productions that we enjoy on stage.  

The Production Team makes imagination tangible, as they work with the designer and the dancers to bring magic, joy, and wonder into our lives.  Thank you again, to Yvette and her team, for allowing us to visit, and introducing us to your world.

As I re-read the story of Alice in Wonderland I found myself contemplating my own process of becoming:

When where how might I want to be bigger, or smaller?

As I learn to roll with the punches, life's challenges

help me challenge the petty tyrants in my life and

question the logic of the adult world

Let us meet each other with a kind heart.

walk and dance together 

share delight in new experiences and

with wonder and joy

write new stories of our lives.

About the Author.  Kate Sikerbol PhD lives in Toronto and has been a Silver Swan with Cabri Dance since February 2023. Dancing brings her joy! She has been an avid fan of Alice in Wonderland since she was a child. She wishes to acknowledge her niece, Julia Thompson for the line:  "ferocious and feral pigs." 

About Cabri Dance.  Check out Annemarie’s website for more information about adult ballet classes.  Come dance with us! www.CabriDance.com

Friends of Silver Swans

Recently guests have dropped in to Friday in-person class. I love how we have built a Silver Swans community where participants feel comfortable and excited to share their experience with others. Plus, presently one of our Swans is visiting England and will be dropping in to a few classes along the way in the Silver Swans global community. How terrific is that! We can’t wait to hear the stories on her return. To find out where other Silver Swans® licensees are teaching when on holiday, please let me check for you. I’m just an email away at Annemarie@CabriDance.com

Thank you Swan Kate, for another fantastic and creative read of our tour to the production centre of the National Ballet of Canada, with photos from several attending. It is now a tradition! Much appreciated, and lucky us!

A big welcome to all those receiving this newsletter outside of Canada! You are most welcome here in a community of dance lovers and I am touched that you are a reader. Stories to share about your ‘Ballet Moment’ are accepted at any time for future newsletters.

A few testimonials about online classes - yes still online Wednesdays at 11AM EST

‘I absolutely love this class! I continue to return to online Silver Swans because I love that adapted choreography allows me the opportunity to learn parts of beloved classics, the delight of connecting to new ballets, and new ways of moving.’ from Sheila in Alberta

‘Watching Annemarie demonstrate the moves makes me feel graceful and expressive too. She’s the best ballet teacher I have ever had. I love the way she works in moves during barre work that later appear on the open floor.’ from Karen in New Brunswick

‘I look forward to our ballet class each week. The dance and music transports me out of my daily routine and into the realm of art and joyfulness as I learn new positions and focus on the beauty of ballet. Annemarie’s energy and enthusiasm and love of ballet is contagious!  Weekly ballet has helped my post surgery rehabilitation and improved my balance and posture.’ from Carol in Ontario

Stay connected and keep dancing!

with love

Annemarie