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ANASTASIA<br />
April 30, 2018<br />
Richmond Hill Centre for the Performing Arts<br />
National Presenting Partner
A Message from Bengt Jörgen, Artistic Director & CEO<br />
I am pleased to welcome you to this performance of<br />
<strong>Ana</strong>stasia. Created in commemoration of Canada’s Ballet<br />
Jörgen 20th Anniversary and received with acclaim across<br />
North America, CBJ is delighted to bring back this original<br />
production, restaged for our 30th Anniversary season.<br />
The idea for <strong>Ana</strong>stasia grew out of a personal interest<br />
in Russian history — <strong>Ana</strong>stasia Nikolaevna was a real<br />
historical figure, the rambunctious, free spirited youngest<br />
daughter of the last Russian Tsar and a young woman<br />
full of personality. The story of her life has become<br />
a remarkable myth transcending facts, reason, and any<br />
attempts to bottle her up in the footnotes of history and<br />
continues to fascinate people close to 100 years after her disappearance in July<br />
1918. The real human drama of a young girl cast adrift in one of the cataclysmic<br />
events of the 20th century is a story I found impossible to resist.<br />
I am indebted to The Michael Young Family Foundation for their extraordinary<br />
financial support of this production. Additional funding for <strong>Ana</strong>stasia was<br />
generously provided by the Canada Council for the Arts, and numerous<br />
foundations, corporations and individuals from across the country. The original<br />
score for <strong>Ana</strong>stasia was made possible with the support of The John D. McKellar<br />
Charitable Foundation. This performance is made possible with the support from<br />
the Toronto Arts Council and George Brown College and our National Presenting<br />
Partner, BMO Financial Group.<br />
Thank you for coming and I hope you enjoy the show.<br />
Warmest regards,<br />
Bengt Jörgen<br />
About Canada’s Ballet Jörgen<br />
Canada’s Ballet Jörgen is a classical ballet company that aims to make ballet<br />
accessible and relevant to 21st century audiences.<br />
Canada’s Ballet Jörgen delivers <strong>program</strong>ming in all 10 of Canada’s provinces as<br />
well as into the United States. Every year the Company tours from coast to coast<br />
travelling over 50,000 km to reach underserved communities. Canada’s Ballet Jörgen<br />
enriches our lives by bringing professional ballet to communities — large and<br />
small, urban and rural. Known for the warmth and beauty of its productions,<br />
CBJ reaches every province, delivering more than 1,500 events, ballet classes and<br />
community engagement events involving over 50,000 people annually.<br />
About George Brown Dance<br />
Canada’s Ballet Jörgen is also home to<br />
George Brown Dance. Our <strong>program</strong>s offer<br />
exceptional professional technical training<br />
in the heart of downtown Toronto. With<br />
over fifty percent of dance contracts in<br />
Ontario, Toronto offers extraordinary opportunities to aspiring performers. Students<br />
can Earn their College Diploma or Certificate specializing in: Classical Ballet,<br />
Contemporary Dance and Urban/Commercial Dance.<br />
The unique leadership of Canada’s Ballet Jörgen’s expert instructors produces<br />
dancers with the skills, confidence and connections necessary for employment in<br />
this wide range of dance performance settings. George Brown College is rated #1<br />
among GTA employers and our graduates are working in all aspects of the arts and<br />
entertainment industry.<br />
Learn more at canadasballetjorgen.ca and georgebrowndance.ca.<br />
Cover: Saniya Abilmajineva by: Karolina Kuras<br />
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Photos from left to right: Saniya Abilmajineva & Daniel Da Silva by Johnny Vong, Saniya Abilmajineva & Daniel Da Silva<br />
by Kevin Vagg<br />
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Canada’s Ballet Jörgen Artistic Staff<br />
Artistic Director & CEO Bengt Jörgen<br />
Company Dancers Saniya Abilmajineva, Anna Benko°, Erik Bruendl°, Junior Gaspar Caballero˘,<br />
Kenny Chung˘, Hannah Mae Cruddas˘, Daniel Da Silva, Akari Fujiwara˘, Elizabeth Gagnon˘^,<br />
Taylor Gill˘, Gustavo Hernandez˘, Adrián Ramírez Juárez˘, Annelie Liliemark,<br />
Heather Lumsden-Ruegg~˘,Momoka Matsui˘, Kelsey Miller°, Leandro Prado, Ayva Rossouw-<br />
Holland~˘^, Hiroto Saito, Márcio Teixeira °, Isaac Wright+<br />
Ballet Master Hiroto Saito<br />
Principal Ballet Coach Svea Eklof<br />
Stage Direction Heinar Pillar<br />
Artistic Working Group Daniel Da Silva,Taylor Gill, Hiroto Saito<br />
Footwear Assistant Annelie Liliemark<br />
Mentorship Student Kimberly Dyer~<br />
+ Appears Courtesy of Canadian Actors’ Equity Association<br />
° RBC Foundation Apprentice Dancer<br />
˘ Past RBC Foundation Apprentice Dancer<br />
^ Sponsored by Pivot Sports Medicine and Orthopaedics through the Sponsor-a-Dancer Program<br />
~ George Brown Dance Graduate<br />
Canada’s Ballet Jörgen Staff<br />
General Manager Stephen Word<br />
Director of Touring Cameron Smillie<br />
Education Manager Clea Iveson<br />
Production Manager Cindy Smith<br />
Business Services Audrey Kwan & Aleksandra Maslennikova<br />
Program Manager, George Brown Dance Derek Sangster<br />
Dance Program Coordinator Kia Kotsanis<br />
Education Coordinators Victoria Campbell & Elise Tigges<br />
Marketing Services Dana Ginsberg & Samira Mahfuz<br />
Bookkeeper Irene Lockrey<br />
Stage Manager Martine Beland+<br />
Technical Director Christopher Axford<br />
Lighting Director Adam Jules<br />
Wardrobe Supervisor Chelsea Conn<br />
Hamilton & Kitchener Coordinator Allyson Wenzowski<br />
Ottawa Coordinator Kita Szpak<br />
Saskatoon Coordinator Jim Hodges<br />
+ Appears Courtesy of Canadian Actors’ Equity Association<br />
Board of Directors<br />
Chair Mara L. Nickerson<br />
Vice-Chair Rob D. Brouwer<br />
Past Chair David Aylward<br />
Chair, Finance & Audit Committee Heather Baker<br />
Directors Salvatore Badali, George Bothwell, Jane Cooke-Lauder, Kevin Goldthorp,<br />
Daisy Heungˆ (Director in training), Elaine M. Todres, Helene Vukovich, David Windross<br />
Special Advisor to the Artistic Director & CEO Alden Hadwen<br />
Atlantic Advisory Board Janice Flemming, Leila Kovacevic, Eddy Ng, candice prior<br />
Honorary Trustees Steven Carter, Richard W. Dodds, William B. Harris, Buchanan Henderson,<br />
Corey Keeble<br />
Co-Founders Bengt Jörgen & Susan Bodie<br />
ˆ Girls On Boards, G(irls)20 Programs<br />
Synopsis<br />
Act 1<br />
Prologue<br />
A young girl and a lady are looking at a photograph album. The woman talks about the<br />
photographs and the young girl sits transfixed, hanging on every word.<br />
The gardens of the Alexander Palace at Tsarsko Selo, the Imperial residence – 1914<br />
The young Grand Duchess <strong>Ana</strong>stasia is playing with her companion Dimitry, the son of<br />
a palace kitchen maid. <strong>Ana</strong>stasia is quite a tomboy and the two begin roughhousing.<br />
Anna, the imperial Nursemaid, enters and scolds her charge for carousing with a peasant.<br />
She chastises <strong>Ana</strong>stasia and chases Dimitry out of the garden. In his hurry, he leaves<br />
behind his slingshot — which <strong>Ana</strong>stasia retrieves for safe keeping.<br />
Left to right: Gustavo Hernandez & Kelsey Miller by Ian Donaldson, Adrián Ramírez Juárez by Lawrence Ho<br />
The Tsaritsa enters the gardens, accompanied by an Orthodox priest. Her stately elegance<br />
and quiet reserve is in complete contrast to that of her young daughter, <strong>Ana</strong>stasia.<br />
Shortly after her arrival, <strong>Ana</strong>stasia’s sister Tatiana enters the garden looking for her<br />
mother. Tender moments between mother and daughters are interrupted by the arrival<br />
of a military messenger. Russia is going to war. The Tsaritsa shares the news with her<br />
companions; as the news reverberates through the Imperial household, all fall to their<br />
knees, praying for Mother Russia.<br />
Throughout the Empire, Russians gather as the troops march off to war.<br />
The gardens of the Alexander Palace at Tsarsko Selo, two years later.<br />
<strong>Ana</strong>stasia and her sister Tatiana are more mature, and are busy at work. They are<br />
organizing medical supplies for the wounded at the hospital set up by the Tsaritsa and<br />
her daughters on the grounds of the Imperial residence. The seriousness of their work<br />
is tempered somewhat by talk of Tatiana’s attraction to a handsome young officer.<br />
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The officer enters the garden to offer his assistance. He escorts Tatiana offstage with the<br />
medical supplies, leaving <strong>Ana</strong>stasia alone with her thoughts. She remembers the affections<br />
she had for her childhood playmate Dimitry, and reminisces. Suddenly she remembers!<br />
The slingshot from so long ago is still there. <strong>Ana</strong>stasia retrieves it from the hiding spot<br />
she created so many years ago. A commotion stirs her from her daydream. A dirty,<br />
dishevelled peasant staggers into the garden clutching stolen goods from the palace.<br />
He freezes at the sight of <strong>Ana</strong>stasia and drops his bundle to the ground. It is Dimitry.<br />
He is being pursued by the palace guards.<br />
<strong>Ana</strong>stasia retrieves his bundle and places it firmly back into his arms. Dimitry gratefully<br />
acknowledges her gesture and moves to exit but realizes he is surrounded by the guards.<br />
<strong>Ana</strong>stasia quickly hides him and when the guards enter the garden, she assures them that<br />
she is alone. After they exit, the two have a soft moment together before Dimitry runs off.<br />
St. Petersburg<br />
Struggling under extreme conditions, the workers gather and demonstrate, begging for<br />
food and peace for Mother Russia. Revolutionaries lead the call for change, and tensions<br />
mount. As the protests grow larger, authorities spring into action and chaos and panic<br />
ensue. The demonstration ends with arrests and<br />
injured Revolutionaries.<br />
Act 2<br />
Prologue<br />
The Imperial family and their entourage are led into captivity<br />
Ipatiev House – Ekaterinburg<br />
Peasants and soldiers mill about, and the Imperial Family is led to their new quarters.<br />
The sight of the humbled former rulers causes the working class to celebrate — power<br />
has shifted, and the empire is no more. Downstairs, the atmosphere is disrupted by<br />
<strong>Ana</strong>stasia’s entrance. She asks for food for the family, and a reluctant solider is ordered<br />
to bring her some bread. The soldier demands payment and <strong>Ana</strong>stasia is forced to hand<br />
over her tiara. An officer intervenes and returns the tiara to <strong>Ana</strong>stasia. He dismisses the<br />
crowd, leaving <strong>Ana</strong>stasia alone with two guards. <strong>Ana</strong>stasia laments the bleak situation of<br />
her family, before retiring upstairs. Grabbing the bread, she inadvertently leaves her tiara<br />
behind.<br />
Some of the demonstrators who escape take refuge underground. They tend to their<br />
wounds and regroup — a revolutionary urges them to take up armed and outright<br />
struggle with the regime. Dimitry is amidst this group of passionate, working class rebels.<br />
Their outrage against the pain and suffering of their people becomes a battle cry as<br />
weapons are distributed.<br />
A drawing room within the palace<br />
Meanwhile, <strong>Ana</strong>stasia prepares for her debut at court. Still playful, she rebels against<br />
wearing the overblown dress coat to her first ball. She is a becoming a young woman:<br />
Poised and beautiful. The Tsar enters and he presents to his daughter a beautiful tiara,<br />
before escorting her to the grand ballroom.<br />
In the palace ballroom all manner of aristocrats adorn the palatial ballroom, enjoying the<br />
festivities. It is a stark contrast to the struggle of the working class. The gathered assembly<br />
sink into curtsies and bows as the royal family is announced. <strong>Ana</strong>stasia is formally<br />
presented before the court. After her first dance, and as the Tsar and Tsaritsa lead the<br />
guests in the Grand Waltz, a military officer offers <strong>Ana</strong>stasia his hand. The merriment<br />
grows and then — a tremendous commotion brings the ball to a halt! Revolutionaries<br />
rush in, Dimitry amongst them. The Imperial family is seized and Dimitry ordered to<br />
arrest <strong>Ana</strong>stasia. They are face to face before she is led away.<br />
–INTERMISSION–<br />
Daniel Da Silva &Taylor Gill by William Hung<br />
Newly promoted from within the ranks, Dimitry enters. He has arrived from Moscow and<br />
now carries an execution order for the Imperial Family. He dismisses his escorts and his<br />
distress becomes visible, even more so upon discovering the tiara that <strong>Ana</strong>stasia left<br />
behind.<br />
<strong>Ana</strong>stasia returns to retrieve her jewels and catches Dimitry off-guard. His happiness to see<br />
her is met only with <strong>Ana</strong>stasia’s cold anger. Dimitry implores her to listen — he wishes to<br />
talk to her. On seeing his pain she allows herself a brief moment of hope, and then realizes<br />
the futility of the situation that they are in. She turns away. Dejected, Dimitry lets his<br />
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frustration show, realizing that he is the only one can help his childhood friend. Soldiers<br />
enter, awaiting their orders and a military official picks up the execution command.<br />
Dimitry is in charge of the operation.<br />
Upstairs Quarters<br />
The Imperial Family is told that the frontline of the civil war is rapidly approaching the city,<br />
and that they are to be moved. They gather for a short prayer. Dimitry and the soldiers<br />
enter and the Imperial Family exits with the soldiers. Dimitry seizes the opportunity by<br />
grabbing <strong>Ana</strong>stasia, holding her back. Desperate, he begs <strong>Ana</strong>stasia to listen to him. He<br />
shows her the execution order and pleads with her to save herself. She knows she may<br />
already be too late to help her family and — overwhelmed by panic and confusion —<br />
she breaks down. Dimitry knows he must move quickly. He disguises <strong>Ana</strong>stasia and hides<br />
her. He cuts his own arm to draw blood, and then throws open the window. He raises<br />
the alarm and the guards burst into the room – he indicates that <strong>Ana</strong>stasia has escaped<br />
through the open window. As the guards rush off, Dimitry grabs her from her hiding<br />
place and ushers her out of the room while pretending to join the search.<br />
Dimitry leads the search party but now he has a young soldier at his side. He dispatches the<br />
remaining troops so that only the young soldier remains. It is <strong>Ana</strong>stasia, and she is terrified.<br />
Leading her off, into the woods, they hear the sound of gunshots, and then it is silent.<br />
<strong>Ana</strong>stasia wildly tries to run towards them — she is frenzied, devastated. Dimitry must<br />
restrain her and he tries to settle her. The two realize the hopelessness of their situation,<br />
and they cling to each other for comfort before escaping further into the woods.<br />
The next morning, a nearby convent<br />
The two young lovers approach the convent gates. A nun comes out and watches a tearful<br />
farewell. She ushers <strong>Ana</strong>stasia into the sanctuary of the convent walls, but Dimitry is left<br />
alone at the convent gate. He sends a final prayer for <strong>Ana</strong>stasia’s safe keeping.<br />
Epilogue<br />
The woman ends her story, and closes the photograph album. The young girl’s eyes shine<br />
with amazement at the mystery of the story and she grabs the older woman’s hand.<br />
They sit down and the lady reaches into her shawl pocket to take out a tiara — which she<br />
gently places in the young girl’s hand.<br />
<strong>Ana</strong>stasia Cast (in order of appearance)<br />
OLDER LADY<br />
*ANASTASIA’S DAUGHTER<br />
ANASTASIA<br />
DIMITRY<br />
NURSE MAID<br />
TSARITSA – ALEXANDRA FYORODOVNA<br />
ORTHODOX PRIEST<br />
TATIANA<br />
YOUNG OFFICER<br />
REVOLUTIONARY AGITATOR<br />
TSAR – NICHOLAS II OF RUSSIA<br />
*BALLROOM ATTENDANTS<br />
BOLSHEVIK OFFICER<br />
DOCTOR<br />
CHAMBER MAID<br />
NUN<br />
SOLDIERS, SERVANTS & WORKERS<br />
*SERVANTS & PEASANTS<br />
LOCAL YOUTH CAST IS COURTESY OF<br />
LOCAL REHEARSAL SPACE PROVIDED BY<br />
Heather Lumsden-Ruegg<br />
Local Participant<br />
Taylor Gill<br />
Daniel Da Silva<br />
Clea Iveson<br />
Hannah Mae Cruddas<br />
Bengt Jörgen<br />
Annelie Liliemark<br />
Junior Gaspar Caballero<br />
Hiroto Saito<br />
Adrián Ramírez Juárez<br />
Local Participants<br />
Isaac Wright<br />
Bengt Jörgen<br />
Ayva Rossouw-Holland<br />
Kimberly Dyer<br />
Members of the Company & Local Participants<br />
Victoria Gravina, Halle Hinkley, Alison Keith<br />
Kya Lenix, Lexi Roth, Fiona Tran, Julia Wiesik<br />
Somerville Dance Academy<br />
Canada's National Ballet School<br />
Interplay School of Dance<br />
Jennifer's arts in motion<br />
Live To Dance Academy<br />
Markham School of Dance<br />
Traditions Academy of Dance<br />
Woodbridge School of Dance<br />
* Local Participant Role<br />
Casting subject to change<br />
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<strong>Ana</strong>stasia Production Credits<br />
Choreography: Bengt Jörgen<br />
Composer: Ivan Barbotin<br />
Set & Costume Design: Sue LePage<br />
Lighting Design: Bonnie Beecher<br />
Stage Direction: Heinar Piller<br />
Additional Synopsis & Concept Development: Clea Iveson & Heinar Piller<br />
Rehearsal Coaches: Svea Eklof & Cindy Macedo<br />
Music: Russian Philharmonic Orchestra<br />
Conductor: Konstantin Krimets<br />
Producers: Pavel Lavrenenkov & Natalia Ruzhanskaya<br />
Sound Engineers: Aleksander Karasev & Gennady Trabantov<br />
Editor: Pavel Lavrenenkov<br />
Scenic Carpentry Properties: Hamilton Scenic Specialty<br />
Properties: The Paragon Innovation Group<br />
Costume Coordinator: Industry Costumes<br />
Costume Construction: Industry Costumes, Evan Stillwater for H’Evan-Lee Creations,<br />
Arana Enterprises<br />
Special Thanks: Layla Azer, George Brown College School of Fashion Studies and<br />
Stephanie Loy Son CAT(C) BKin(H), Apple Creek Sport Centre, Markham<br />
Unparalleled Dance Training<br />
2ö18<br />
Summer<br />
Dance<br />
July – August<br />
For complete audition and<br />
<strong>program</strong> information visit<br />
canadasballetjorgen.ca/<br />
education/summer-dance<br />
2018/19 Season<br />
Coppélia<br />
A Comedy with Love<br />
Canada’s Ballet Jörgen’s 31st season will<br />
feature a Canada wide tour of the beloved<br />
comedy Coppélia: A Comedy with Love.<br />
Coppélia is a complete re-imagination of<br />
the world’s only surviving comedic classical<br />
ballet. It is a daring, bold and funny story<br />
that takes us into the mysterious mind of<br />
Dr. Coppélius, a lonely and disillusioned<br />
toy maker who wishes he could bring<br />
a perfect doll to life.<br />
The Nutcracker<br />
A Canadian Tradition<br />
Holiday magic is made year after<br />
year by this Canadian treasure.<br />
Canada’s Ballet Jörgen’s 2018-2019<br />
season will also include its annual tour<br />
of The Nutcracker: A Canadian Tradition.<br />
Choreographed by Bengt Jörgen to<br />
Pyotr Ilyich Tchaikovsky’s beloved score,<br />
the ballet is set in and around Algonquin<br />
Park in 1912 and features Trillium flowers,<br />
loons and other distinct Canadian<br />
representations replacing the traditional<br />
Nutcracker dances.<br />
Tickets on sale Spring 2018!<br />
Photos by Kamal Daid<br />
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Many Thanks to our 2018 Sponsors<br />
National<br />
Presenting Partner<br />
<strong>Ana</strong>stasia was made<br />
possible by<br />
Touring Support<br />
Operating Support<br />
RBC Emerging Artist Project<br />
Atlantic Youth<br />
Programming Partner<br />
Education Partner<br />
Travel Partner<br />
Teva Canada Innovation<br />
We thank Aeroplan for its ongoing<br />
support through the Aeroplan<br />
Member Donation Program<br />
Dancer Sponsor and<br />
Health & Wellness Partner<br />
Programming Partner<br />
Printing Sponsor<br />
Special Thanks<br />
Foundation Partners<br />
The Bennett Family Foundation,<br />
Findlay Family Foundation,<br />
The Linda Frum and Howard Sokolowski Foundation,<br />
Sanford McFarlane Family Foundation<br />
Canada’s Ballet Jörgen<br />
George Brown College, Casa Loma Campus<br />
160 Kendal Avenue, Building C, Room 126<br />
Toronto, ON M5R 1M3<br />
Tel: 416-961-4725 E-mail: info@balletjorgen.ca<br />
canadasballetjorgen.ca<br />
Registered Charitable # 118798586RR0001
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