Chelsea McMullan's film follows the artistic director of the National Ballet of Canada as she directs her first show for the company before her retirement.
, “and I thought: I want to try to find the courage to do this.” Kain, a former ballerina, trained at NBC and made her debut as Swan Queen in the company’s 1971 production. She was later mentored by the Soviet dancer and choreographer Rudolf Nureyev, who helped nurture her career. Kain gained domestic and then international recognition. Andy Warhol made a portrait of her and Canadians affectionately nicknamed her the nation’s Princess Diana. in her final year at the National Ballet of Canada.
What McMullan does present offers a peek into the complicated, dramatic and at times tense world within the National Canadian Ballet. The physical, emotional and psychological stamina required from the dancers is on full display from the moment Jurgita Dronina, a resolute Russian-Lithuanian dancer with an easy smile, appears on the screen. She explains, briefly, the structure of the company, which includes the corps de ballet, soloists and principal dancers like herself.
Tasked with bringing Kain’s vision to life is choreographer Robert Binet, a patient and steady figure throughout the documentary. He corrects the corps dancers, reminding them when they must move faster to keep in time with the music, and challenges Kain with a similar kind of gentle but firm command. He navigates, with admirable grace, the task of marrying a director’s vision and her dancers’ abilities.
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