I have been writing about The National Ballet of Canada’s performances for the past ten years, first as part of my Master’s of Dance Studies at York University and currently for my PhD work at the world-renowned Roehampton University in London, England. In my current studies, I try to understand the dancers’ creative process in abstract ballets, such as Balanchine’s The Four Temperaments. This is one of my favorite ballets and I have been fortunate that Balanchine Repetiteur Joysanne Sidimus let me watch it being rehearsed for the National Ballet’s Fall Mixed Programme, which opens tonight.

In The Four Temperaments there may be no linear story, but there are many themes. Many of them come from the magnificent music by Paul Hindemith and one can find many intriguing clues left by the choreographer. For example, I like to observe several movement motifs that are introduced in the first three duets (for example, the classical ballet line becomes broken into angular movements of arms and legs). I follow this theme as it re-appears as a thread throughout the four main variations. This ballet is also witty and amusing. As writer Nancy Goldner said, whether Balanchine was influenced as some say by cubist painting, or African-American social dances, here he definitely had fun breaking ballet norms.

The ballet seems so modern now it’s hard to imagine how avant-garde it looked when it premiered in 1946. At first, the dancers had to deal with uncomfortable costumes. The late great Todd Bolender (the original Balanchine dancer in the role of Phlegmatic) told me once in an interview that his original costume included a hat that covered a large part of his face and for the most part he couldn’t see where he was going. Also, the original costume was made out of wool and felt very heavy on his body. So, when Balanchine stripped off the costumes and got dancers into the rehearsal clothes in 1951, Bolender felt so light that he could soar.

The National Ballet’s dancers had many fascinating thoughts about the ballet as well. Our conversations took place during a demanding month, when dancers had to multi-task, switching between rehearsals of The Sleeping Beauty and two other works on the Fall Mixed Programme. Yet, in rehearsals and interviews they were very focused, very thoughtful and eloquent about each of their roles on the current repertoire. For The Four Temperaments, one common thought was that all the movement qualities come through music, and that they try to capture this in their dancing. Their subtle musical shadings were quite beautiful. In the Sanguinic pas de deux, Principal Dancers Sonia Rodriguez and Aleksandar Antonijevic literally teach us how to listen to the score, having fun and expressing the nuances of musical lights and shades, as if they are letting the spectator in on their private cheeky game. I love watching First Soloist Rebekah Rimsay, who finds a clever way to use her arms to slow down or catch up to the musical accents, while her partner First Soloist Jonathan Renna masterfully makes her turn as a human cello. It was quite fascinating to watch fearless First Soloist Stephanie Hutchison, who makes hair pins fly out of her bun as she tornadoes herself to centre stage as the whirlwind Choleric woman.

Needless to say, I was so thrilled to be a witness of all the special moments when dancers let loose in the creative process in-studio. In the theatre you watch dancers on the stage, while in rehearsal you are sort of a guest in their home and feel a bit like you are the one onstage. While trying to remain invisible, I am also aware that my presence may influence some dancers to perform differently than they would without any observers. I think the spectator or the audience has a great responsibility as his very presence may affect the way the dancer shades the movement.

[Photos from The Four Temperaments, from top to bottom: Artists of the Ballet. Photos by David Street. Aleksandar Antonijevic. Photo by Cylla von Tiedemann.]

This season, I will return to the stage as King Florestan in The Sleeping Beauty. This role was made famous by Charles Kirby who was one of the finest Character Artists in the National Ballet’s history. I have some big shoes to fill, so to speak. The Sleeping Beauty is a huge production and one that I have danced in many times, from Corps de Ballet roles to Prince Florimund and many solo roles in between.

I must say, sitting onstage as the King is much less nerve wracking than dancing the part of the Prince and it affords me a front row seat of the action. The biggest challenge of the role is actually moving the long and heavy robes that the King wears. Sometimes we trip on them and it is difficult not to laugh! My favourite part is being centre stage at the top of Act III, wearing the magnificent headdress and leading the company in the rich and elegant Sarabande, a glorious dance by the entire kingdom, celebrating the wedding of Princess Aurora and Prince Florimund.

We just finished three performances in Ottawa and are ready to dance for the Toronto audiences. It is bittersweet being onstage in this production as all the memories of Rudolf Nureyev come flooding to mind, as well as the performances when I myself had to do those dreaded barrel turns in the Act III solo and the fiendish fish dives that Karen Kain and I loved to do at top speed.

I sit there now and am proud of my role as King, watching the company’s current dancers do their thing and I hold my breath as they finish each fantastic solo. I am there every step of the way, glad to be onstage and backstage coaching the new generation. If you have never seen The Sleeping Beauty, I can tell you it is not to be missed. See you onstage!

[Photo credits, from top to bottom: Rex Harrington with members of the Wardrobe Department backstage during a performance of The Sleeping Beauty. Photo by Bruce Zinger. King Florestan Prologue and Act I costume sketch for The Sleeping Beauty. Photo by Nicholas Georgiadis. Rex Harrington with Artists of the Ballet in rehearsal for The Sleeping Beauty. Photos by Aleksandar Antonijevic.]

I first met Justina McCaffrey on an airplane in 2004 while I was on my way to dance at the Brooklyn Academy of Music (BAM) festival in New York City and she was on her way to present her latest collection of wedding dresses at her fashion show during the New York Bridal Fashion Week. We sat next to each other on the plane and became fast friends. Somehow, during the whirlwind in New York City, we managed to make it to each other’s shows and we have never lost touch since.

This October, after 18 months out of the industry, Justina called and asked for me to join her in New York City to be a part of her re-launch back into the bridal world. I got to be a part of a runway show with a five-minute crash course on how to “walk the walk” and got to be Justina’s in-house model for prospective buyers. I have to admit, for all of its lack of choreography, the runway is a nerve-wracking place. I know how to negotiate a pointe shoe in front of thousands of people but walking in four inch heels in a ball gown with a dozen cameras flashing away and an audience so close you brush them as you walk by is another story. I had to laugh at how nervous just walking made me. I was ever so thankful that the real models were very nice and so willing to help me down the runway. It was a glamorous weekend. I wore silk and crystal gowns for at least 12 full hours over those few days and loved every minute of it. What a dream. Each one of Justina’s gowns are designed to make you feel beautiful and to dance on its own.

I also got to accompany Justina with her business partners Heidy Foot and Bob Lafreniere to the Martha Stewart party in the grande ballroom at the Park Plaza Hotel. It was a decadent evening. The people of the industry were buzzing. I met some of the characters from “Say Yes to the Dress” and “Iron Chef America“. The food was unbelievable. Everything was bite-sized. I ate mini lobster rolls topped with truffles and salmon roe marinated in sake. It was like I was walking around in the pages of Martha Stewart Weddings magazine.

I love New York City - it is such an amazing place but, let me tell you, New York City in a wedding gown is a whole other level of excitement.

- Krista Dowson will appear as the Fifth Fairy in The Sleeping Beauty, onstage November 13 – 22 at the Four Seasons Centre for Performing Arts in Toronto. She will also perform in all three pieces in the Fall mixed programme, onstage November 25 – 29.

[Photos, from top: Krista Dowson with Justina McCaffrey and Heidy Foot. Krista modelling a Justina McCaffrey gown. The entrance to the Martha Stewart party in the grande ballroom of the Park Plaza Hotel. Photos courtesy of Krista Dowson.]