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The National Ballet of Canada returned to the UK this fall for the first time in over a decade, presenting a captivating evening of Canadian choreography.
Titled Frontiers: Choreographers of Canada at Sadler’s Wells, the program showcased works by some of the country’s most exciting choreographers: James Kudelka’s Passion, Emma Portner’s Islands, and Crystal Pite’s Angels.
All three pieces were revelatory, underscoring the remarkable strength and artistry of this outstanding ballet company.

Passion by James Kudelka explores the intricacies of relationships by presenting two contrasting couples: one traditionally dressed in tutus and classical attire, and the other—Larkin Miller and Genevieve Penn Nabity—casually dressed in jeans and T-shirts. The piece deftly embodies the dichotomy between classical and contemporary dance, making it a fitting choice for a company that excels in both styles. A small corps de ballet is woven throughout the work, often creating barriers between the two couples—barriers that are sometimes difficult to cross. The couples themselves offer a poignant contrast: one seems at home in a passionless but ordered classical world, while the other pair continually seeks connection but remains at odds with their surroundings. It’s a compelling and thoughtful opening to an intriguing evening.

The evening continues with Emma Portner’s Islands, which extends the theme of couples in interaction—this time through a duet between two women, a rarity in the world of ballet. The dancers are conjoined at the waist by their costume, moving together to form intricate and striking shapes. Yet, paradoxically, they appear even more intimate once they are no longer physically connected—perhaps suggesting that true connection transcends physical bonds.

The highlight of the evening, without a doubt, was Crystal Pite’s Angels’ Atlas—a work choreographed for the entire company and an unequivocal triumph. The lighting design creates the illusion of a shimmering waterfall, a breathtaking backdrop to the equally stunning choreography. The dancing throughout is superb, with the standout performance of the evening delivered by South African dancer Siphesihle November, one of the company’s newest principal dancers. Whenever November is on stage, your eyes are drawn to him—he is utterly captivating and is quickly becoming one of the company’s brightest stars.

Founded by British ballerina Celia Franca, the National Ballet of Canada’s return to the UK was a powerful reminder of the company’s exceptional talent and versatility.