The National Ballet of Canada Celebrates 75 Years – An Anniversary of Immense Artistic Glory

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By Eric Sabourin — October 27, 2026

Unforgettable reviews

All over the world, they have dazzled audiences during their countless tours of the Americas, Europe and Asia (China, Japan, Hong Kong); there was also an Australian tour and, of course, those right here at home, to our finest cities across Canada’s provinces and territories.

For my part, having lived in Toronto for nearly ten years, each new production of their own was among my favourite engagements, just as much as those of the Canadian Opera Company and the Toronto Symphony Orchestra, more than 45 years ago, when L’Express de Toronto allowed me to follow them closely, every time.

One hundred and ten artisans and physicians

Going over the rich list of the hundred or so specialists of a sound and far-sighted administration protecting these diverse creators, I arrive at this dazzling number: a spectacular effort in itself, especially the essential nutritionists, therapists, chiropractors, podiatrists, naturopaths, surgeons and general practitioners looking after the health of the first soloists, second soloists and principal dancers, as well as the prodigious corps de ballet of this septuagenarian company.

To educate, care for, guide, heal, perfect, reimagine: one remains in awe of this exemplary dancing institution.

Soothing soul, heart and body

Certainly, dance is an ecstatic art, but also a form of athletic olympism: like it or not, there are risks of serious injury in rehearsal or during performances.

Thus no fewer than 21 human health specialists have joined, caring for feet, muscles, tendons and joints, and also for the heart and soul of this exceptional company. The Ballet School attached to the Company would add still more to these considerations of sound educational outreach.

International comparisons

We have no greater company in our land, let us attest to it!

Have we not reviewed, over my 45 years of devotion to the critical praise of the arts, the undeniably sensational productions of the Bolshoi, the Kirov, those of the Paris Opera Ballet, the Perm Ballet, the Royal Danish Ballet, our neighbour American Ballet Theatre, and, before the pandemic, right here in our pages, the prodigious New York City Ballet, not to mention our frequent reports on the resounding reservoirs of talent of the Ballet Nacional de Cuba in Havana under Alicia Alonso?

Surely this new review to come, on the evening of October 31, when we will be presented with Prokofiev’s Romeo and Juliet in John Cranko’s choreography, will also be a memorable occasion.

On this Saturday of shared festive costumes in the Queen City, principal dancer Isabelle Kinch will lend her talent to the role of Juliet and Oliver Yonick will portray Romeo. Donald Thom will burst onto the stage as Mercutio, Tom Cape will play Benvolio, Ben Rudisin will be Tybalt, Chase O’Connell will become Paris, the role of Capulet will fall to Patrick Lavoie as an extension of his caregiving, while the great Heather Ogden will bid farewell to the stage as the Nurse.

This John Cranko production, created long ago in Stuttgart in 1962, entered the National Ballet’s repertoire in 1964: it was entirely redesigned in 1995 by costume designer Susan Benson, and the work was re-illuminated with lighting by Robert Thomson.

So let us all blow together, in the joy of balletomane rapture, on the inextinguishable flame of the sacred fire of these joyful 75 candles!