The Faerie Queen
A Ballet Based on A Midsummer Night’s Dream
STUDY GUIDE
Elizabeth Lamont PHOTO: Réjean Brandt Photography
2014/15
Canada’s Royal Winnipeg Ballet
T-B Gweneth Lloyd, Betty Farrally, Her majesty Princess Elizabeth’s visit to Winnipeg
includes a command performance which introduces her to The Winnipeg Ballet (1951)
Company Dancers
PHOTO: Réjean
Brandt Photography
ABOUT
Gweneth Lloyd and Betty Farrally founded Canada’s Royal Winnipeg Ballet
School nearly 75 years ago. The two women met when Lloyd was running
a dance school in Leeds, England and Farrally was her student. They both
immigrated to Canada in 1938, and settled in Winnipeg. There they offered
dance classes to the community – starting out with only six students in their
first year. Word quickly spread, however, and by year two their enrolment had
grown and they were able to establish the “Winnipeg Ballet Club.”
By 1943, The Winnipeg Ballet was formed with all of its dancers coming
from the Club. Six years later, the Company officially became a not-for-profit
cultural institution. In 1951, the Company was invited to perform for then
Princess Elizabeth during her visit to Winnipeg, just prior to her becoming
Queen of England. Following her coronation in 1953, she bestowed The
Winnipeg Ballet’s “Royal” designation.
Between the Royal Winnipeg Ballet (RWB) School’s two divisions of study, there
is a place for virtually every type of dance student: from preschoolers to adults,
those new to dance and those aspiring to become professional dancers.
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PREPARING To see the ballet
This booklet is designed to enhance the student’s experience at Canada’s Royal Winnipeg Ballet’s performance
of The Faerie Queen, A Ballet Based on a Midsummer Night’s Dream. The activities and information included are
organized to help students prepare, understand, enjoy, and respond to their experience watching the performance.
DURING THE PERFORMANCE:
Enjoy the ballet! As part of the audience, your attendance is as essential to the ballet
performance as the dancers themselves. Prior to arriving at the theatre, discuss
proper audience etiquette using the keywords below. These steps will help students
handle their feelings and enthusiasm appropriately. It is also very important to arrive
on time or even early for the performance in order to allow enough time to settle in
and focus on the performance.
CONCENTRATION: Always sit still and watch in a quiet, concentrated way. This
supports the dancers so that they can do their best work on stage.
AFTER THE
PERFORMANCE:
Process and respond
to the performance
by engaging in class
discussions or writing a
letter to the RWB. We love
to get feedback from our
student groups.
WRITE TO:
QUIET: Auditoriums are designed to carry sound so that the performers can be
heard, which also means that any sound in the audience (whispering, laughing,
rustling papers or speaking) can be heard by dancers and other audience members.
Your movement or checking your phone and texting disrupts the performance for
everyone, so always ensure that phones and other electronic devices are turned off
during the entire performance.
RESPECT: By watching quietly and attentively you show respect for the dancers. The
Canada’s Royal Winnipeg Ballet
380 Graham Avenue
Winnipeg, MB, R3C 4K2
E [email protected]
facebook.com/RWBallet
twitter.com/RWBallet
dancers show respect for you (the audience) and for the art of dance by doing their very
best work.
APPRECIATION: Do clap at the end of a dance (when there is a pause in the music) if
instagram.com/RWBallet
pinterest.com/RWBallet
you feel like showing your appreciation.
At Canada’s Royal Winnipeg
Ballet, our mandate is:
RWB Company Dancers
PHOTO: Samanta
Katz
“To enrich the human experience by
teaching, creating and performing
outstanding dance.”
Whether touring the world’s stages,
visiting schools, offering rigorous
dance classes for all experience
levels, or performing at Ballet in
the Park each summer, the RWB
consistently delivers world class
dance and instruction to the citizens
of Winnipeg and far beyond.
Find out more about us at rwb.org.
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ABOUT
Ballet
Marie Camargo, with her ankles exposed
The First Ballet
In 16th century France and
Italy, royalty competed to
have the most splendid
court. Monarchs
would search for and
employ the best poets,
musicians and artists.
At this time, dancing
became increasingly
theatrical. This form of
entertainment, also called
the ballet de court (court
ballet), featured elaborate
scenery and lavish
costumes, plus a series
of processions, poetic
speeches, music and
dancing. The first known
ballet, Le Ballet comique de
la Reine, was performed at
court in 1581 by the Queen
of France (and her ladies)
at her sister’s wedding.
The Sun King
In the 17th century,
the popularity and
development of ballet
could be attributed to
King Louis XIV of France.
He took dancing very
seriously and trained daily
with his dance master,
Pierre Beauchamp. One
of the King’s famous
roles was the Rising Sun
which led him to become
known as the “Sun King.”
King Louis also set up
the Academie Royale de
Danse (Royal Academy of
Dance) in 1661, where, for
the first time, steps were
structurally codified and
recorded by Beauchamp.
These are the same steps
that have been handed
down through centuries,
and which now form the
basis of today’s classical
ballet style.
The First
Professional Dancers
At first, ballets were
performed at the Royal
Court, but in 1669 King
Louis opened the first
opera house in Paris.
Ballet was first viewed
publicly in the theatre
as part of the opera.
The first opera featuring
ballet, entitled Pomone,
included dances created
by Beauchamp. Women
participated in ballets at
court, but were not seen
in the theatre until 1681.
Soon, as the number of
performances increased,
courtiers who danced
for a hobby gave way to
professional dancers who
trained longer and harder.
The physical movement
of the first professional
dancers was severely
hindered by their lavish
and weighty costumes
and headpieces. They also
wore dancing shoes with
tiny heels, which made it
rather difficult to dance
with pointed toes.
Revealing Feet and Ankles
Early in the 18th century
in Paris, the ballerina,
Marie Camargo, shocked
audiences by shortening
her skirts to just above the
ankle. She did this to be
freer in her movements
DID YOU KNOW … ?
Dancing ballet puts
a lot of wear on a
dancer’s shoes. Some
dancers need to get
new shoes every week!
and allow the audience to
see her intricate footwork
and complex jumps, which
often rivaled those of the
men. Ballet companies
were now being set up
all over France to train
dancers for the opera. The
first official ballet company
(a collection of dancers
who train professionally)
was based at the Paris
Opera and opened in 1713.
The Pointe Shoe
By 1830, ballet as a
theatrical art form
truly came into its own.
Influenced by the Romantic
Movement, which was
sweeping the world of
art, music, literature and
philosophy, ballet took
on a whole new look. The
ballerina ruled supreme.
Female dancers now
wore calf-length, white,
bell-shaped tulle skirts.
To enhance the image of
the ballerina as light and
ethereal, the pointe shoe
was introduced, enabling
women to dance on the
tips of their toes.
Classical Ballet
Although the term
“classical” is often used to
refer to traditional ballet,
this term really describes
a group of story ballets
first seen in Russia at the
end of the 19th century.
At this time, the centre of
ballet moved from France
to Russia. In Russia, the
French choreographer
Marius Petipa collaborated
with the Russian composer
Pyotr Tchaikovsky to create
the lavish story ballet
spectacles such as Swan
Lake, The Sleeping Beauty
and The Nutcracker. Today,
these ballets still form the
basis of the classical ballet
repertoire of companies all
over the world.
One Act Ballets
In 1909, the Russian
impresario Serge
Diaghilev brought
together a group of
dancers, choreographers,
composers, artists
and designers into his
company, the Ballets
Russes. This company
took Paris by storm as
it introduced, instead
of long story ballets in
the classical tradition,
short one act ballets
such as, Schéhérazade,
Les Sylphides, The Rite
of Spring, Firebird and
Petrouchka. Some of the
worlds greatest dancers,
including Anna Pavlova
(1881-1931), Vasslav
Nijinsky (1889-1950) and
choreographers Mikhail
Fokine (1880-1942) and
George Balanchine
(1904-1983) were part of
Diaghilev’s company.
SEE FOR YOURSELF!
Do a search for images of ballet
dancers throughout the ages.
Can you notice the differences
in costumes over time? What do
most dancers wear today?
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THE LIFE OF A DANCER
The career of a dancer is relatively short and it is not
unusual to spend more years training than dancing
professionally. As in Olympic-level sport, the movements
demanded of the human body in ballet are very specific
and require great precision and care. For that reason, the
physique must be prepared for a professional ballet career
at a young age.
The professional training period usually consists of at least
seven years of intensive, precise work. Ideally, girls and boys
should begin their professional training by age ten. Training
is a very progressive process. The young professional
student begins with daily classes, practicing the basic ballet
positions and movements, learning body placement and
how to move through the space with balance and artistry.
As the student progresses, time spent in classes each week
increases, as do the difficulty and extensiveness of the skills
taught. In addition to daily class in classical technique,
students also receive instruction in variation (solo) work,
pointe (dancing on the toes), pas de deux (a dance for two),
character (ethnic), jazz and modern dance.
Amanda Green PHOTO: David Cooper
Prior to the introduction of pointe work, a number of criteria
must be considered. These include the amount of previous
training, a dancer’s strength and ability, as well as age as
it relates to the bone development in the dancer’s feet. Pas
de deux and repertoire (the collection of different ballets
a dance company performs) are introduced only when the
student has adequate strength, ability and training.
Students who graduate to a professional ballet company
usually begin dancing as a member of the corps de ballet
(ensemble). After a few years, corps de ballet members
whose artistry, technical ability, musicality and ability to
communicate with the audience set them apart may be
promoted to first or second soloist. Finally, the highest
achievement in the company, the position of principal dancer
or ballerina, is attainable by only a few select dancers.
ESTABLISHING DANCE IN NORTH AMERICA
Almost all contemporary ballet companies and dancers are influenced by Diaghilev’s Ballet Russes. The first visit by
this company to North America in 1916-1917 stimulated great interest in ballet. Dancers from the Ballets Russes
were instrumental in furthering this new interest in ballet. For example, dancer George Balanchine went to the
United States and founded the New York City Ballet (originally called the American Ballet). He became renowned
for perfecting the abstract ballet and for establishing neo-classicism through his choreographic masterpieces such
as Serenade, Agon and Concerto Barocco. Ninette de Valois and Marie Rambert also went on to found, respective,
England’s Royal Ballet and the Rambert Dance Company. It is from these English roots that two English Women,
Gweneth Lloyd and Betty Farally, founded the Royal Winnipeg Ballet in 1939 (the oldest ballet company in Canada).
Celia Franca also came to Canada and in 1951, she founded The National Ballet of Canada in Toronto. Some of the
worlds greatest dancers, including Anna Pavlova (1881-1931), Vasslav Nijinsky (1889-1950) and choreographers
Mikhail Fokine (1880-1942) and George Balanchine (1904-1983) were part of Diaghilev’s company.
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THE FAERIE QUEEN Synopsis
A Ballet Based on a Midsummer Night’s Dream
CHOREOGRAPHY: John Alleyne
STORY ADAPTATION: John Murrell
COMPOSER: Michael Bushnell & Owen Underhill
(adapted from Henry Purcell’s The Fairy Queen)
COSTUME DESIGN: Kim Nielsen
SET DESIGN: Darren Waterston
LIGHTING DESIGN: Jean Phillippe Trépanier
LENGTH: 2 hours (run times are approximate)
ACT 1:
Sophia Lee
PHOTO: Réjean
Brandt Photography
Here, too, there are troubled hearts. Titania, the
Faerie Queen, has adopted two human foundlings and
possessively keeps them from her husband, the Faerie
King Oberon. Hurt by her selfishness, Oberon decides to
teach Titania a lesson. He recruits Puck, a mischievous
spirit, to find a magical flower with the power to make
sleeping victims fall in love with the first creature they
see when they wake.
PROLOGUE: ATHENS
The valiant Greek hero Theseus and his warrior bride
Hippolyta are celebrating their wedding in a glorious
garden in ancient Athens. They recall the story of their
love and how they won each other’s hearts through acts
of bravery, charm, and courage in battle. The joyous
celebrations are interrupted by Egeus, a noble Athenian
who demands judgement in the case of his daughter,
Hermia, who is refusing to marry the man he chose for
her, the noble Demetrius. Hermia is in love with another
young man, Lysander. Undeterred by the judgement of
her father, the lovers run away together into the forest
and are pursued by Demetrius, who himself is pursued
by yet another love-struck Athenian, Helena. Egeus
dashes off after all of the young lovers with their hearts
in a muddle.
Meanwhile, a mysterious spirit conjures a magical storm
that transports Egeus and the young lovers into another
world…
Before Oberon and Puck and decide how they want to
use this magical flower on Titania they are interrupted
by the arrival of all four Athenian lovers – Hermia with
her beloved Lysander, and Demetrius, who is still being
followed by Helena. Oberon leaves, instructing Puck to
use the magical flower to make Demetrius love Helena
and resolve the quarrel. Puck promises to follow orders,
but instead delights in causing all kinds of chaos and
amorous confusion. She has her fill of mischief and is
about to set everything right when Egeus bursts into the
scene, furious. It occurs to Puck that Egeus might be
just the right selfish fool to teach Queen Titania a lesson.
ACT 2:
King Oberon returns from spying on his wife and her
foundlings. Inspired by Puck, he transforms Egeus’
head into that of a donkey. Together they take him to
the sleeping Queen Titania and use the magical flower
to trick her into falling in love with the donkey-headed
Athenian. Oberon and Puck spirit the foundlings away,
and Titania’s faerie retinue is forced to fawn over and
entertain the ludicrous couple.
After the new lovers fall asleep Oberon removes the
enchantment and makes the lesson known to Titania,
who sees the error of her ways and agrees to share
her foundlings. Puck arranges the Athenians into their
appropriate couples and returns them to the mortal
world. Egeus, finally understanding his daughter’s
happiness and remembering the lessons of his
mysterious “midsummer night’s dream,” is prepared to
let well enough alone in the realm of love. The mortals
return to Athens to celebrate a double wedding while
twilight descents and the Faerie court revels in the
power and mystery of love.
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THE FAERIE QUEEN Characters
A Ballet Based on a Midsummer Night’s Dream
in love with
Demetrius
OBERON
loves
LYSANDER
in love with Hermia
loves because of
love juice
anoints with
love juice
anoints with
love juice
PUCK
A spirit of mischief
underlings to
truly loves
King of the Faeries
jealous that Titania
won’t share them
father to
friend to
HELENA
Queen of the Amazons
transforms into an ass
s
ve
lo
loves thanks to Oberon’s love potion
HERMIA
ward of Egeus, in love
with Lysander
HIPPOLYTA
engaged
Hero of Athens
married to
THESEUS
asks for help
lieutenant to
EGEUS
Hermia’s guardian,
wants her to marry
Demetrius
OBERON’S
RETINUE
TWO
FOUNDLINGS
human children
adopted by Titania
DEMETRIUS
betrothed to Hermia
TITANIA
TITANIA’S ATTENDANTS
The Woodland Faeries:
Peaseblossom, Cobweb, Mote, Mustardseed,
Thistledown, Will-o-the-Wisp
adopted by
underlings to
Queen of the Faeries
FAERIES BEHAVING BADLY
Morgan Le Fay, Painting by Frederick Sandys, Oil on Panel, 1863-1864
Collection of the Birmingham Museums and Art Gallery
Morgan le Fay is King Arthur’s half-sister in the Arthurian Cycle. Different
versions of the stories depict her as sinister or benevolent.
Pan’s Labyrinth (2006), written and Directed by Guillermo del Toro, is a dark
faerie tale set during the Spanish Civil War.
German brothers Jacob and Wilhelm Grimm published their famous
collection Grimm’s Fairy Tales in 1812 under the title Children’s and
Household Tales (“Kinder- und Hausmärchen“ in German). Would we
consider the original stories suitable for children today?
Jim Hensen’s Labyrinth (1986) casts David Bowie as the Goblin King after
European legends of a faerie king who snatches children.
Disney’s Maleficent (2014) reinterprets the old faerie tale (and previous movie)
Sleeping Beauty (1959) where Maleficent is a faerie on a quest for vengeance.
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BIOGRAPHIES
John Alleyne
John Alleyne was born in Barbados and immigrated to
Canada with his family in 1965. After graduating from The
National Ballet School in Toronto in 1978, he joined the
Stuttgart Ballet where he began his choreographic career,
creating numerous compelling works for the Noverre
workshop and the company’s repertoire, including Phases
(1983), In Variation on a Theme (1984), as well as his first
commission, Weiderkehr (1985).
In 1984, Alleyne returned to Canada and joined The
National Ballet of Canada as a First Soloist, accepting the
position as the company’s resident choreographer from
1990 to 1992, creating “innovative and challenging works,”
including Blue-Eyed Trek (1988), Split House Geometric
(1989-1990), and Interrogating Slam (1991). Alleyne began
his association with Ballet British Columbia (Ballet BC) in
the late 1980s when he was invited to choreograph several
new works for the west coast company, among them
Flying To Paris (1989), Go Slow Walter (1990) and Talk About
Wings (1991).
Alleyne was appointed Artistic Director of Ballet BC in
1992. His leadership marked the beginning of a creative
and prosperous period in the company’s history where he
created one act and full-length ballets to expand Ballet
BC’s contemporary ballet repertoire. Alleyne implemented
assertive outreach strategies for strengthening the
company’s identity locally, nationally and internationally.
He developed collaborative approaches to choreographing
and presenting contemporary work, evolving a signature
Ballet BC style, and actively encouraged artists from
various mediums to partake in the spirit of creativity and
innovative thought inherent within the company.
Dedicated to the development of his craft, Alleyne’s
choreography is noted for its technical complexity and
innovative expansion of the classical ballet lexicon.
A bold, dynamic creator, Alleyne raised the profile of
Ballet BC with his contemporary ballet choreography,
showcasing such works as The Archeology of Karl... A
romantic adventure (1993), Three Visible Poems (1994), The
Don Juan Variations (1995), Can you believe she actually
said (1995), Remember Me From Then (1996 with Peter.
Goldberg (1998), Schubert (1999), The Faerie Queen (2000,
adapted and filmed by CBC), Orpheus (2002) Scheherazade
(2002), Carmina Burana (2004), The Rite of Spring (2005),
A Streetcar Named Desire (2006), and The Four Seasons
(2008).
During his tenure at Ballet BC, Alleyne developed
audience awareness and greater accessibility and
appreciation of dance through numerous community
outreach initiatives and educational programs, which
directly supported the environment of innovation and
creativity inside the company dynamic. These community
outreach initiatives and educational programs included
‘Pre- Performance Chats’, ‘Studio Series’, ‘Kids Club’,
‘School Shows’, and ‘The Greater Vancouver Regional
District (GVRD) tours’ to the necklace of communities
outside of Vancouver, ensuring children and audiences
from various backgrounds were given the opportunity
to experience live dance performance in an intimate
environment. Ballet BC’s annual international Summer
Dance Intensive and Mentor Program were also
established by Alleyne to provide rigorous training to
students preparing to make the leap to professional
dancer.
A number of internationally respected companies,
festivals, and institutions have commissioned new
choreography from Alleyne performed as part of a
variety of festivals, co-productions, and special events,
including the Canada Dance Festival, the New York City
Ballet’s Diamond Project and the San Francisco Ballet’s
celebration of the 50th Anniversary of the United Nations
– United We Dance, the Dance Theatre of Harlem, Les
Ballet de Monte Carlo, the National Arts Centre, the Banff
Centre for the Arts, and EDAM with the Firehall Arts
Centre.
Alleyne is the recipient of many prestigious awards
acknowledging his outstanding contribution to the world
of dance. He was the recipient of Toronto’s Dora Mavor
Moore Award for Outstanding New Choreography for
Interrogating Slam (1992); the Harry Jerome Award for
Professional Excellence from the Black Business and
Professional Association (1993); the first-ever honorary
Doctorate of Fine Arts from Simon Fraser University
(2003); the Vancouver Arts Award for Performing Arts,
recognizing extraordinary achievement and promise
(2004); the Exceptional Achievement Award in the
Performing Arts from the Black Historical and Cultural
Society of British Columbia (2005); and he was a keynote
speaker at the Golden Key International Honorary Society
at the University of British Columbia (2006).
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William Shakespeare
William Shakespeare, who wrote the play on which
the ballet of The Faerie Queen is based, is probably
the most internationally renowned and most widely
read of all playwrights. Shakespeare was born in
Stratford-upon-Avon in England in April, 1564, during
the reign of Queen Elizabeth I. The facts of his life,
known from surviving documents, are scarce. He
was one of eight children born to John Shakespeare,
a merchant of some standing in his community. He
went to the King’s New School in Stratford, but he
had no university education. In November of 1582,
Shakespeare married Anne Hathaway and their
marriage produced three children.
By 1592, Shakespeare (though not severing ties
completely with Stratford) left for London to pursue
the life of an actor and playwright. In London,
he joined up with the acting troupe, The Lord
Chamberlain’s Men (later under King James I, called
The King’s Men). The Theatre was one of the main
sources of entertainment in Elizabethan England.
With the emergence of the middle class, the theatre
offered a social gathering place and, above all,
entertainment.
Nature Symbolism
Many painters, writers, and other artists of the
Renaissance used a common language of symbolism
to express their ideas. Plants and animals had specific
meanings; for instance, ivy meant eternal love and
hounds were symbols of loyalty and devotion. Here are
the meanings of some traditional plants and animals –
some of which you’ll find in The Faerie Queen:
In antiquity, conch shells were symbols of love.
According to myth, Venus, goddess of love, was born
out of sea foam and sailed to land on a conch shell.
Butterflies were used as symbols for the soul.
Mules were symbolic of stubbornness and ingratitude.
Tulips were a symbol of vanity, an association that
came from wealthy Europeans’ greed for tulip bulbs
imported from the Middle East. They were so popular
that they caused an economic collapse in 17th century
Holland.
For the ancient Greeks and Romans, owls were
symbols of wisdom sacred to Athena, but to medieval
Christians they were a bad omen.
Poppies were associated with sleep and dreams.
PHOTO: Larry
Smith
Suggested reading:
Nature and Its Symbols (A Guide to Imagery)
Paperback – December 1, 2004, J. Paul Getty
Museum, by Lucia Impelluso (Author),
Stephen Sartarelli (Translator)
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DID YOU KNOW … ?
DID YOU KNOW … ?
The ancient Greeks considered romantic love
a form of madness, especially ‘love at first sight’.
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Credit Kim Nielsen, Costume Designer
English composer Henry Purcell composed his
score for an opera of The Faerie Queen in 1692 at
the age of 32 (three years before his death) but it
was lost, and not rediscovered until 1901.
CLASSROOM
Activities
LANGUAGE ARTS
HISTORY
Why do you think people are still adapting
Shakespeare’s plays hundreds of years
after he died? What makes his stories still
relevant today? Discuss other adaptations of
Shakespeare’s plays and how they compare to
the ballet.
Research the celebration of Midsummer and the other
holidays that occur on the solstices and equinoxes. What do
they tell you about the cultures that celebrated them? How
do they compare to holidays that are celebrated today?
To understand The Faerie Queen, you should
be familiar with terms related to the world
of Shakespeare and mythology. Discuss
the words below, and see if you know their
meaning.
How is a Shakespearean Theatre different from today’s
style of theatres? Research the social structure of the
Elizabethan era. During the plays, who would have had
seats and who would have been standing?
•
•
•
•
•
•
•
•
•
•
Summer Solstice
Faerie tale
Foundling
Arranged marriage
Madness
Juxtaposition
Eros
Carnivalesque
Renaissance
Farce
Why is a Midsummer Night’s Dream considered
a comedy? How does a Shakespearian comedy
differ from what we typically consider to be a
comedy?
The Faerie Queen takes place partly in the Land
of the Faeries. What is this place, and where
else is it depicted in literature?
Oberon and Hippolyta are characters from
Roman mythology. Research and discuss the
fascination with Greek and Roman stories that
occurred in Europe during the Renaissance.
FINE ARTS
The costumes in The Faerie Queen are not
classic ballet style costumes. Why do you think
they chose to design the costumes that way?
How does costuming effect your perception of
the ballet?
Ballet tells a story using movement instead of
words– a challenging task indeed. Pick your
favourite scene from A Midsummer Night’s
Dream or another work of Shakespeare and act
it out without using any words.
SOCIAL STUDIES
DID YOU KNOW … ?
• In some adaptions of A Midsummer Night’s
Dream, Puck is called ‘Robin Goodfellow’
after a legendary English trickster, and is
played by a man.
• Oberon and Titania are characters in the
ancient Roman poet Ovid’s masterpiece
Metamorphoses.
• Faeries are mythical beings from European
folklore that have many different names and
variations. The word “faerie” comes from
Middle English, and can also be spelled
fayerye, feirie, or fairie.
• When the play was first created, all female
roles in A Midsummer Night’s Dream would
have been played by male actors. Women
were not permitted to act on stage.
• Plays were public property in Shakespeare’s
day, meaning that anyone could claim
that they had written them. This has lead
historians today to question the authorship
of some plays that have long been attributed
to William Shakespeare.
• In 1599, the least expensive seat at the
Globe Theatre cost one English penny, the
most expensive, three English pennies.
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Brandt Photography
PHOTO: Réjean
LIKE ALL LIVE PRODUCTIONS, EACH BALLET
PERFORMANCE ONLY HAPPENS ONCE.
Elizabeth Lamont, Liang Xing
It is a combination of the performers on stage
and the audiences in front of them that make
each performance unique.
For this reason, it is in the audience’s best
interest to be visibly and audibly attentive
and appreciative – the better the audience,
the better the performance on stage will be.
PRODUCTION & STUDENT MATINEE SUPPORTER
STUDENT MATINEE SUPPORTER
IN MEMORY OF
Peter D. Curry
PERFORMANCE SPONSORS
LET US KNOW WHAT YOU THINK!
Write to:
Canada’s Royal Winnipeg Ballet
380 Graham Avenue
Winnipeg, MB, Canada R3C 4K2
E [email protected]