Review: Silent Screen / Body of Work / Rhapsody (The National Ballet of Canada)

Opening the season at the National Ballet of Canada is a Triple Bill that showcases that the company never shies away from a challenge. This program celebrates its own talents as well as the neoclassical and contemporary ballet worlds, featuring Body of Work, a solo by Canadian dancer Guillaume Côté; Rhapsody, a neoclassical ode to Sir Frederick Ashton; and Silent Screen, a cinematic contemporary ballet marvel.

Opening the night is Body of Work, a solo choreographed and danced by National Ballet of Canada star, Guillaume Côté, to mark the start of his final season after twenty-six years with the company. Set to Beethoven’s Symphony No. 7, the piece is minimalist, with Côté dancing amid a few dim lights designed by Jeff Logue, shirtless and wearing only black pants designed by Krista Dowson.

The solo is all about articulation; Côté takes his time moving through choreography that highlights the strength and versatility of his body, honed over decades of training. The movement feels like a blend of styles from his years on stage, explored at a slower, more reflective pace—a tribute to a remarkable career. The most striking image for me was Côté’s expansive wingspan as he faced away from the audience, capturing the strength and elegance refined over years of performing. Originally created as an homage to his friend and fellow dance icon, Canada’s Anik Bissonnette, the piece lasts only five minutes and is gone in a flash—a beautiful way to open the season.

Following a brief pause, Rhapsody, choreographed by Sir Frederick Ashton, graces the stage. Originally created in 1980, this work is making its debut with the National Ballet of Canada in celebration of two significant events: the fiftieth anniversary of Mikhail Baryshnikov’s famous defection in Toronto—he was the original dancer for this role—and the international Ashton Worldwide Festival, dedicated to preserving the legacy of the British choreographer.

The festival coincides with the one-hundred-and-twentieth anniversary of Ashton's birth and the fortieth anniversary of his death. Twenty-four international ballet companies, including American Ballet Theatre, the Australian Ballet, the National Ballet of Japan, and San Francisco Ballet, are involved in this global celebration. Audiences of the National Ballet of Canada may be most familiar with Ashton’s La Fille Mal Gardée. It is exciting for the company to be a part of this international event.

Rhapsody is a light and joyful ballet, running about thirty minutes and enhanced by bright set design by Ashton himself and lighting recreated by Jeff Logue. Costumes, originally designed by William Chappell and recreated in 2016 by Natalia Stewart, include flowing gold and cream tutus that add an airy elegance. The dancers move among two-dimensional pillars, evoking the grandeur of classical architecture and creating an expansive yet ordered space. The choreography complements this setting perfectly, combining technical precision with a sense of lightness and musicality. There’s an underlying romantic air, with intricate footwork and floating lifts that make the movement feel as expansive as the set.

Two principal dancers lead the performance, supported by a large corps. Siphesihle November dances in Baryshnikov’s original role, paired with the radiant Tirion Law. Law’s musicality in her interpretation of Sergei Rachmaninoff’s Rhapsody on a Theme of Paganini is gorgeous. November also shines in his role, showcasing his strength and natural charisma, especially in moments of playful relaxation—a quality Baryshnikov was known for. A challenging ballet in many respects, yet the company makes it look effortless.

Following a thirty-minute intermission, the evening’s highlight takes the stage: Silent Screen. Choreographed by Nederlands Dans Theater’s (NDT) Sol León and Paul Lightfoot and set to the stunning music of Philip Glass, this work is visually complex from start to finish. Originally created for NDT in 2005, Silent Screen has traveled worldwide, offering audiences a mesmerizing and intimate experience.

The dancers are immersed in a silent film projected onto three shifting screens behind them. Dressed in all black, they move as if part of the film itself, creating a unique and immersive effect. The film sequences range from nature scenes and windows that play with shadow, to abstract visuals, evoking the silent film era and capturing moments of loss, connection, and pain. When the screen is absent, Tom Bevoort’s dim lighting envelops viewers, crafting an intimate atmosphere and inventive visuals that animate the darkened stage.

The choreography is highly expressive, featuring sweeping, fluid gestures, unexpected facial expressions, and powerful partner work requiring immense strength and balance. The work is cast beautifully, with Ben Rudisin particularly standing out—he sinks into the choreography with intensity and ease. His movements are snake-like and dark, and his spine articulates through each vertebra as if the role was made for him. Another memorable highlight is the intertwined and beautiful duet between Shaakir Muhammad and Erica Lall.

I hesitate to write more about this work, not wanting to reveal too much of its beauty and cinematic magic; it’s no surprise that this piece has mesmerized audiences globally. The atmosphere feels both personal and epic, as if I were peering into an intimate dream or a fragmented memory. One encounter with it feels almost too brief.

This triple bill showcases the National Ballet’s commitment to challenging dance works, a tradition the company has maintained throughout its history. They consistently rise to the occasion, but it’s still impressive to see them tackle some of the most demanding pieces in the dance world. A wonderful start to the National Ballet of Canada’s new season. I look forward to what lies ahead!

Silent Screen / Body of Work / Rhapsody, presented by the National Ballet of Canada at the Four Seasons Centre for the Performing Arts (145 Queen St W, Toronto, ON M5H 4G1) is playing until November 16, 2024. Tickets range from $54 to $256. Tickets can be purchased online here.

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• Photo 1: Guillaume Côté in Body of Work. Photo by Bruce Zinger.
• Photo 2: Tirion Law and Siphesihle November in Rhapsody. Photo by Karolina Kuras.
• Photo 3: Hannah Galway and Christopher Gerty in Silent Screen. Photo by Karolina Kuras.

Written by Deanne Kearney. DeanneKearney.com @deannekearney