January 13, 2006 -

OTTAWA -- Audiences will plunge into the decadent and mysterious world of the undead when the Royal Winnipeg Ballet performs its highly-acclaimed Dracula in Southam Hall of the National Arts Centre on January 26, 27, and 28, 2006 at 20:00.Dracula was the first full-length ballet by renowned choreographer Mark Godden (The Magic Flute), who transforms the classic vampire story into a bitingly dramatic -- and unexpectedly witty – dance masterpiece. Set to a glorious score by Gustav Mahler and with opulent sets and costumes by Paul Daigle, this spectacular production is faithful to Bram Stoker’s novel -- Dracula himself is the seductive embodiment of pure evil. Hailed by critics for lusciously fluid and elegant dancing, Dracula overflows with erotic desire, simmering sexuality, and blood-sucking horror. All performances feature the NAC Orchestra under the baton of RWB Music Director and Conductor Earl Stafford.

Dracula is part of the National Arts Centre’s Canril Corporation Ballet Series, which is generously sponsored by Canril Corporation.

Burned into the public psyche over the past century, the name Dracula evokes dread, horror – and, most of all, fascination. A legend, a classic novel (Bram Stoker’s 1897 novel has never been out of print and has been reissued in over 300 editions, including dozens of foreign languages), the subject of countless movies, Count Dracula rises from the crypt once again in his most spectacular incarnation. Mark Godden’s inventive choreography is the highlight of a production that embodies a strong, fast-moving narrative as well as visual opulence. Complete with flying bats, dancing gargoyles, and mysterious transformations, Dracula is contemporary ballet at its atmospheric finest. An instant hit with audiences and critics, Dracula enjoyed eight sold-out houses at its 1998 premiere in Winnipeg, and has since been performed in cities across Canada, large and small, from Victoria, B.C. to St. John’s, Newfoundland.

“What Godden and his designer Paul Daigle have accomplished in terms of theatrical effect is proof that imagination and ingenuity are more important than a fat wallet. The kids in the Winnipeg audience squirmed with glee when Lucy got her head chopped off with a spade and as for the death of Dracula...well, it's not fair to give away too much. Suffice it to say it's really scary. With Dracula, the Royal Winnipeg Ballet has a genuine hit on its hands...an original, made-in-Canada, full-length story ballet that combines wit, intelligence, theatricality and fine dancing in one very entertaining package.”

Michael Crabb, CBC Arts Report, October 26, 1998

“Utterly seduced...brilliantly conceived...there's a sensuality in Godden's dance that I find absolutely startling. This is a crowning achievement for a choreographic career.”

Robert Enright, CBC Radio, October 22, 1998

“The RWB’s Dracula is … a mesmerizing, intimate and multi-layered portrait of a deeply tortured soul …Dracula is an ominous, elusive power whose presence is as everlasting as Stoker's myth … the balletic spectacle dancegoers expect from RWB. Set and costume designer extraordinaire Paul Daigle has pulled out all the stops, creating some eye-popping, non-traditional special effects and costumes. The overall effect is a neo-classical work wrapped in an exciting, hip and unusual package.”

Riva Harrison, Winnipeg Sun, October 23, 1998

Dracula (1998)
CHOREOGRAPHY Mark Godden
MUSIC Gustav Mahler
SET AND COSTUME DESIGN Paul Daigle
LIGHTING DESIGN David Morrison

The Royal Winnipeg Ballet performs Dracula in Southam Hall of the National Arts Centre on Thursday January 26, Friday January 27, and Saturday January 28, 2006 at 20:00. Tickets are $73, $68.50, $57, and $38 for adults, and $37.50, $35.25, $29.50, and $20 for students (upon presentation of a valid student ID card). Tickets are available at the NAC Box Office (in person) and through Ticketmaster (with surcharges) at (613) 755-1111; Ticketmaster may also be accessed through the NAC’s web-site at www.nac-cna.ca. Last-minute tickets (subject to availability) for full-time students are $10 at the Live Rush Centre in the NAC Foyer after 18:00 on the day of performance only, upon presentation of a valid ‘Live Rush’ card. NEW for 2005-06! Groups of 10+ save 15% to 20% off regular ticket prices to all NAC Music, Theatre and Dance performances; to reserve your seats, call 947-7000 ext. 384 or e-mail grp@nac-cna.ca.

Photos for all dance events can be viewed and downloaded at: www.nac-cna.ca/media/

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Information:
Gerald Morris,
Marketing and Media Relations,
NAC Dance Department
(613) 947-7000, ext. 249
gmorris@nac-cna.ca

CANADA’S ROYAL WINNIPEG BALLET
Versatility, technical excellence and a captivating style are the trademarks of Canada's Royal Winnipeg Ballet, qualities that have garnered both critical and audience acclaim.  These qualities keep the RWB in demand as it presents more than 150 performances every season. Founded in 1939, the Royal Winnipeg Ballet holds the double distinction of being Canada's premier ballet company and the longest continuously operating ballet company in North America.  In 1953, the company received its royal title, the first granted under the reign of Queen Elizabeth II.  The RWB has grown and developed under Artistic Directors Arnold Spohr, Henry Jurriens, John Meehan, William Whitener and, since 1996, André Lewis.  Lewis has revitalised the company’s repertoire with the commissioning of new full-length ballets, such as Dracula and a Canadian-themed Nutcracker, and the RWB now takes its place among the world's internationally renowned companies.  Today, the company spends 20 or more weeks a year on tour.  The RWB repertoire embraces a wide array of dance styles and includes classical story ballets and an intriguing collection of shorter dances.  A fine balance is achieved between the classical traditions of Europe and the boldness of contemporary ballet, which in turn has produced a style unique to the RWB.

MARK GODDEN, Choreographer
Born in Dallas, Mark Godden studied dance at the Denton School of Ballet in Texas. In 1981, Godden entered the Royal Winnipeg Ballet School, joining the Company in 1984 and distinguishing himself in leading roles. However, as early as 1982, Godden began to focus on choreography. Today he is considered one of Canada's foremost young choreographic talents, his creations having won him international acclaim. His choreographic career began with creations for the Professional Division students of the RWB School (Forms of Distinction, 1988). In 1989, Godden's Sequoia was taken into the RWB's repertoire and later entered the repertoire of Mexico's Compañía Nacional de Danza. Godden also created two award-winning pas de deux featuring RWB dancers (Myth, 1990; La Princesse et le Soldat). Godden was appointed Resident Choreographer for the RWB in 1990 and created Symphony No. 1., Angels in the Architecture, Dame aux Fruits, and A Darkness Between Us. Godden's La Folía was originally created in 1992. He began working as an independent choreographer in 1994, making his home in Montréal. He has created new works for Les Grands Ballets Canadiens de Montréal, Alberta Ballet, Ballet British Columbia, and for Ballet Jörgen. He created Miroirs for the Royal Winnipeg Ballet in 1995, The Rite of Spring in 1997, and Dracula, his first full-length ballet, in 1998. As Above, So Below was created in 2001, and The Magic Flute in 2003.

DRACULA SYNOPSIS

Act I
Scene 1 -- Lucy Westenra’s Seaside Estate in England, late 1800’s
Having already been inducted into Dracula’s world, Lucy collapses in her bedroom. Her nightmares and sleepwalking have the household staff concerned. Troubled by her erratic moods, Lucy’s three suitors and a medical specialist, Dr. Abraham Van Helsing, are summoned to her bedside. Close to hysterical and seemingly paranoid, Lucy faints near dead. Van Helsing determines Lucy to have unexplainable loss of blood. A transfusion is required. Suspicious that supernatural forces are at work, Van Helsing discovers two tiny holes in Lucy’s neck. Research material from the mansion library is brought to the doctor. Van Helsing abandons medical remedies and surrounds Lucy’s bedroom with garlic and crosses. Lucy appears dead to the doctor and her three suitors.

Scene 2 -- Lucy’s Crypt
Holding her under his dark spell, Dracula claims his prize by initiating Lucy into the tomb. Van Helsing and the suitors, suspicious of Lucy’s death, break into the tomb. Armed with crosses and stakes they manage to free Lucy from Dracula’s evil empire.

Act II
Pantomime -- (Present, late 1900’s)
The dancers step out of their roles to illustrate humorously a condensed narration of Bram Stoker’s famous novel, Dracula.

Scene 1 -- Red Dance
This bacchanal is inspired by the traditions of classical dance along with elements of folklore and folk dance. The wolf and dancers reflect different aspects of Dracula and his world.

Scene 2 -- A Convent in Budapest, late 1800’s
Mina Murray (a friend of Lucy Westenra, who is unaware of the fate which has befallen her), travels to a convent in Budapest after being summoned to the side of her ill fiancé, Jonathan Harker. In order to advance his career, Jonathan has recently travelled to Transylvania to assist Count Dracula in buying real estate in England. Mina and Jonathan are together after a long absence when she chances upon his diary. Mina reads that Dracula had abandoned Jonathan in the castle where he encountered three vampire women. Though lured by their strange seduction, Jonathan has managed to escape. Mina is enticed by Jonathan’s experiences in the castle and part of her feels drawn to that world. Having no secrets from Jonathan, she divulges this desire. Jonathan is shocked by Mina’s behaviour, which is similar to that of the vampire women. Repressing these desires, Mina assures Jonathan of her love by sealing the diary’s secrets.

Scene 3 -- The Crypt at Dracula’s Castle in Transylvania, late 1800’s
Mina has been taken captive by Dracula who offers her a place to live in the world of the living dead, the place she read about in Jonathan’s diary. Dracula leaves Mina drained of blood as he hears Van Helsing and Lucy’s suitors inside the castle. Finding Mina alive, they hunt for Dracula. The daylight is fast approaching and Dracula is forced to battle the men. With all enslaved, the Count tortures Jonathan by performing his blood ritual on Mina. Witnessing Jonathan’s anguish, Mina manages to weaken Dracula by draining him of his blood. Mina then seizes a cross and wakens the dazed men. They surround Dracula and, like Vlad of Wallichia, kill him.