Review: The Royal Winnipeg Ballet's Presentation of SNOW WHITE at the National Arts Centre

The Royal Winnipeg Ballet’s presentation of Angelin Preljocaj’s Snow White was truly a sight to behold at the National Arts Centre in Ottawa. This ballet held its Canadian debut in Winnipeg only last fall, and I can honestly say that we have been honoured to experience such a magical, theatrical, and bold retelling of this classic fairytale.

From the magnificent set design (Thierry Leproust), featuring gilded golden walls of the palace, a dark forest of glistening birch tress, the seven miners’ towering stone façade, a shimmering, floating glass panel that became a coffin, and the larger than life mirror with its magical reflection. Even though the sets were relatively simple, every detail was meticulously designed and used to enhance the story, and firmly embed the characters in the setting. This is not a Disney-fied Snow White; rather, Preljocaj based his version on the original Brothers Grimm story. A more sinister tale, this Snow White is clearly intended for an adult palate. The costumes, designed by the enfant terrible of French fashion, Jean-Paul Gaultier, were both sumptuous and daring, especially the Evil Queen’s (Maggie Weatherdon, alternating with Jaimi Deleau) dominatrix-style attire and thigh-high heeled boots.

Snow White’s (Amanda Solheim, alternating with Taisi Tollasepp) dress, for most of the performance, was a loose white outfit, that appeared to symbolize her purity, reminding the audience that she was as innocent as an infant not long out of swaddling cloths, her virginity represented by a sheer red handkerchief that she eventually lays out for her chosen Prince (Stephen Azulay, alternating with Logan Savard) .

Snow White is a contemporary ballet but still has a classic feel during some scenes, notably the ballroom scene at the beginning. Some of the other scenes use staging, lighting (Scott Henderson) and emotion through dance to create a masterful visionary experience. The deer hunt was one of my favourites: the staccato movements of the deer (Katie Bonnell, alternating with Alanna McAdie) and her exposed red heart in the dark and neutral setting generaated a surprising amount of empathy, considering it was so highly stylized.

The scene where the Queen, disguised as a peddler, rams the poisoned apple down Snow White’s throat was almost difficult to watch; it felt like we were voyeurs who stumbled upon a vicious sexual assault. Another impressive scene was the pas de deux when the Prince dances with Snow White’s lifeless body – it was both haunting, yet strangely beautiful, as Snow White performs her part of the dance like a rag doll, with her eyes closed.

A fair number of aerials have also been incorporated into the choreography. Our first view of the seven miners is when they descend from cutouts in a rock wall, lending height to the stage and displaying impressive acrobatics. Later, the spirit of Snow White’s mother (Katie Bonnell) who died in childbirth, floats down to take her seemingly dead daughter to the heavens before realizing, in a poignant moment, that it is not yet her time.

In the triumphant finale, as in the original Brothers Grimm story, the bedraggled Evil Queen is unceremoniously fitted with red hot (and comparatively ugly) iron shoes and made to pay for her crimes by dancing until she literally drops dead.

The score features extracts of symphonies by Gustav Mahler, performed by the NAC Orchestra and conducted by Julian Pellicano, coupled with electronic sounds, to help give the piece a modern and gritty edge.

Once again, NAC Dance has brought an unforgettable show to Ottawa audiences. If you missed it, fear not: there are still three more shows in the 2023-2024 season, including the renowned Margie Gillis' Literature of the Body. Click the button below for more information or to purchase tickets.

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