As NACO principal oboist Charles “Chip” Hamann explains, every year the season opening is something that the musicians look forward to and thrive off of. In fact, he notes the reception and enthusiasm of the audience is something that directly impacts how the orchestra performs.

“The audience is such a huge part of who we are. And we feel the energy from the audience so much. It’s like fuel for us. The orchestra loves the feeling that people are really excited about a concert. It helps us play better,” he says with a grin.

This year the anticipation and enthusiasm of the musicians is palpable, muses Alexander Shelley. Not only will opening night mark his inaugural concert as Music Director, but it is also the world premier of Dear Life, a new creative work commissioned by the NAC and inspired by Nobel Prize-winner Alice Munro’s semi-autobiographical short story “Dear Life.” The score for Dear Life is written by award-winning Canadian composer Zosha Di Castri, with text adaptation by Merilyn Simonds, and features soprano Erin Wall and recorded narration by legendary Canadian actor Martha Henry. Under the expert guidance of Creative Producer and Director Donna Feore, the work will be an immersive visual stage experience, featuring beautiful images projected onto the stage by Magnum photographer Larry Towell.

“I think it will be very exciting backstage. There is a lot of anticipation and a desire to get out there and just present this wonderful music,” says Shelley.

As NACO Double Bass Marjolaine Fournier adds the inherent beauty and joy of opening night stems from the mounting promise that awaits the audience. “For several weeks now, we’ve been rehearsing, rehearsing and rehearsing. And now at last, the time has come to present our gift.” 

This week Ontario Scene opens, and will showcase 600 of the best established and emerging artists across this province. It’s the seventh in a series of festivals that began in 2003 which shine a national spotlight on a different region of the country every two years.

Audiences in the national capital region have discovered artists from every corner of the country including: Atlantic Scene (2003), Alberta Scene (2005), Quebec Scene (2007), BC Scene (2009), Prairie Scene (2011), Northern Scene (2013) Ontario Scene (2015) and the planned month-long celebration of Canada Scene (2017) to celebrate Canada’s 150th Anniversary.

The Executive Producer of the Scene Festivals, Heather Moore, says that audiences will discover that “Ontario is a place where artists blur artistic boundaries—merging film with live performance to create award-winning theatre like Post Eden, and the blending of classical music with dance, theatre, and video to create the evocative new works like Century Song.”

Audiences will be able to discover and re-discover artists like Shad, Daniel Lanois, Molly Johnson, Ron Sexsmith, Peggy Baker, Basia Bulat, or see the Kitchener-Waterloo Symphony create a mash-up of music and technology in their concert, Quantum: Music at the Frontier of Science.

It’s an exciting look at Canada’s most populous province.

First in March at the TNM, then in April at the NAC, Sébastien Ricard incarnates the tyrant king Richard III, supported by a cast of top-notch actors. Under the Sibyllines banner, Brigitte Haentjens directs a Shakespeare play for the first time. She discussed her anxieties and intuitions about the piece.

For a director with extensive experience in contemporary works and theatre solidly anchored in its times, as is the case with Brigitte Haentjens – whose distinctive, audacious career is the stimulus for very interesting reflections in her recent book Un regard qui te fracasse – tackling Shakespeare represents several challenges. “I find his work monumental, a sort of foundation stone of theatre, after the Greeks.

"When I was younger I didn’t feel I had the maturity to take on Shakespeare,” she said two months before rehearsals. “I came to his plays via Büchner and then Brecht. I find there are many points in common between the plays of Brecht, his early work at least, and Shakespeare.” In her book, she deplores the overwhelming Brechtian jurisprudence, “...the famous distancing or alienation effect, a theory about theatre that Brecht came to belatedly, but one that was already present in Shakespeare.”

During the interview she praised the “bastardy” of the writing of both playwrights. “Brecht’s first plays were more or less collective creations, bits of bravado for the actors. It’s the same with Shakespeare. He has a troupe with two comic actors? Well then, he writes comedy scenes for those actors. In his early plays and in Richard III, we can feel that collective aspect, that parcelling out, and the hybrid aspect where tragedy and comedy, the popular and the poetic, coexist. Although we have few references as regards Shakespeare’s era – Brecht is much closer to us – I have the impression that both were experimenting with a sort of high quality popular writing that was dialectic and not simplistic.”

“As for distancing and the alienation effect, in the Globe, the space where Shakespeare’s plays were performed, distancing existed from the get-go: everything was in full view of the audience, there was no so-called fourth wall, and plays were performed in the light of day. If there is one character who represents distancing, it is Richard III when he speaks to the audience. I’m convinced that his character was Brecht’s inspiration for Mack the Knife in The Threepenny Opera. He is similar in attitude to Richard, the sleazebag who makes the audience his accomplice.”

Through her favourite actor Sébastien Ricard as Richard III – in a role quite naturally meant for him – the director sees a strong connection between the Drum Major that Ricard played in Büchner’s Woyzeck (which she staged in 2009) and Mack the Knife (a role he performed in 2012), and his current embodiment of the dark and sordid Richard III. A damned theatrical character, Richard III is one of those monstrous heroes who leave their mark on actors.

“There are many horror stories about what can happen to actors who play Richard,” says Brigitte Haentjens, who in her book evokes the risk inherent in certain roles, the risk of “leading the actor into a veritable descent into hell. You have no idea of how dangerous theatre can be, and that’s not just a platitude! I know because I’ve seen actors step through the looking-glass during certain performances. But Sébastien has a strong psyche, he knows how to protect himself and I’m there to help him.”

Trust your intuitions

A true practitioner, Brigitte Haentjens notes that rehearsals are critical. Although she had intuitions about how her Richard III might take shape, she also knows what she doesn’t want.

“I’m not interested in period costumes and all that. The set designer Anick La Bissonnière and I travelled a long road. We roughly defined the space as very simple, a bare stage, but were wondering how we could change the stage picture. We joked that it’s always the same thing – a stage floor with actors!” (Laughs.)

There is thus no evocation of a space, the director wishing to stick to the essence of theatre, as did the ancient Greeks. “I wanted a chorus, a form of interchangeable community, something very simple that allows people to exist. But until the work in rehearsals gets underway, I’m quite anxious!”

While she finds it difficult to talk about a play before it is up and running, she acknowledges that the work on this piece began about four years ago with her long-time collaborator Jean Marc Dalpé, who knows her quite well, having worked with her at the National Theatre School. He wanted to do the translation. “What I like about Jean Marc’s work is that he can take into account the different levels of language in Shakespeare. A translated text must be alive. His work on Joyce’s Molly Bloom was very subtle, very sensitive. These texts must be very accessible to us, very much rooted in the present,” stressed the director.

After numerous table readings with the outstanding actors, Brigitte Haentjens directed a workshop in May 2014, “not necessarily focused on the text, but more on an intuitive approach to movement so as to find a common language for the group, so that everyone would feel part of the story.” That group spirit is important to her, so much so that she included clauses in the contract to allow for several all-cast rehearsals.

“But it’s complicated,” she adds, “because in rehearsal we have to begin with Act IV. It’s strange, but that’s how it is. There are a lot of scenes, and it’s never the same persons who appear in the scenes. It’s difficult to manage. In a show like this, we have to work as much on short scenes as on group scenes. It’s even harder than with L’opéra de quat’sous, where there were five tableaux. I struggled with that at the time, it gave me insomnia. This time there are five scenes per act, a total of some thirty scenes, yet they flash by. It’s not easy, and I’m frightened, I’m scared!” (Laughs.) She admits that once the preparation is over, as is the case now, she is more anxious about things than when she is working with the actors.

A fascinatingly complex character

Brigitte Haentjens says that one of her strongest intuitions was “the feeling that things had to keep moving. That’s what Shakespeare is. It is not psychological theatre, it’s not theatre that takes its time to set up a situation. There’s a very exciting aspect, but it’s not easy to pull off when you’re working with 20 people, with so many characters.”

She was captivated by Richard III.

“The play is very interesting in political terms, and also psychologically. I find the nature of a character like him really interesting. Oddly enough, there are a lot of people like that in society, even though they are not killing people. There are more and more “narcissistic perverts” who thrive on destruction.

What is also fascinating in the case of Richard is the quest for power. Basically it is not power so much as the fact that he wants to dominate others. As soon as he acquires power he starts to go mad, to lose his way, for he no longer has an objective. It is a demonstration – acquiring power and then not using it, devoid of any social, political or sociological ambition. He has no plan or direction! He has a goal, but once he has achieved it, the objective no longer exists.”  

The director views the role of women in Richard’s entourage as crucial. She sees him as being shaken by the curse made by his mother the Duchess of York. “On the psychological level, he is obviously someone who has not been “seen”, that is loved by her specifically. Her curse causes him to waver. That dimension of fates and spells was very much a living, feared presence at the time.”

Haentjens feels that the major scenes of the play are those where Richard is with women, for they are allowed to express themselves. “It’s as though the women force him to find the best in himself, to put his money where his mouth is. That’s also why I wanted Sébastien for this role, because he is a man of his word, someone for whom every word counts.” With actresses like Louise Laprade as the Duchess of York, Monique Miller as Queen Margaret, Sylvie Drapeau as Elizabeth and Sophie Desmarais as Lady Anne, these scenes will certainly not be lacking in intensity.

1. Brigitte Haentjens, Un regard qui te fracasse: propos sur le théâtre et la mise en scène, Boréal, 2014.

This text appeared in issue 153 of Jeu.

RAYMOND BERTIN is a journalist and teacher. He was a theatre and book critic for the cultural weekly Voir before joining the editorial staff of Jeu in 2005.

The project was front-and-centre at the NAC’s Annual General Meeting on February 26, 2015, that featured renowned architect Donald Schmitt, whose firm Diamond Schmitt Architects designed the re-imagined NAC, as keynote speaker.  

Diamond Schmitt Architects has designed several internationally acclaimed performing arts centres, including La Maison Symphonique in Montreal, the Four Seasons Centre in Toronto and the recently opened Mariinsky II Theatre in St. Petersburg, Russia.

Other speakers at the Annual General Meeting included NAC Board Chair Adrian Burns and NAC President and CEO Peter Herrndorf.

In October 1914, young Canadian Soldiers packed up and stepped onto ocean liners to cross the Atlantic. There were 30,000 of these young Canadians on 33 ships. They arrived in England and spent months on the Salisbury Plain, training for combat in France. 

Nicholas Atkinson (principal tuba) was born in Manchester, England, and came to Canada in 1957. He began his musical career playing tuba and string bass with Canadian Army bands. Nicholas speaks about the historical significance of the region and the concert repertoire.

The String Quartet’s performance coincided with the Nottinghamshire Trent to Trenches exhibition which explores the impact of the First World War on the people of Nottingham at home and in the battlegrounds of Northern France. 

Concert repertoire included The Maple Leaf Forever by Alexander Muir and String Quartet in C minor composed by Sir Ernest MacMillan in 1914 while he was a prisoner of war in Germany.

Designed by Zaha Hadid, the Riverside Museum is situated on the banks where the Kelvin and River Clyde meet. It’s roofline has multiple peaks that shine like rippled water in the sunshine. It was a fitting location for some inspired music making with over 100 children from five local schools. Students participated in two sessions; first listening to live music inspired by the First World War and then responding to the music by drawing and playing musical instruments.

The excerpt is Fantasia on a Theme by Thomas Tallis by British composer Vaughan Williams.

The concert repertoire ranged from Bach to English composer Ernest John Moeran whose work Trio in G for Violin, Viola and Cello was composed in 1931. The music inspired many of us to to think of the generations of people who have visited this site to reflect, honour and worship over the centuries.

An orchestra is by its nature a cooperative structure. Any musician will tell you that a huge part of being a successful orchestral player is the ability to perform while at the same time listening to other musicians and follow the lead of the conductor. This type of collaborative learning provides immense social benefits to young children. Individuals are challenged to play to the best of their ability while at the same time recognizing that they are part of a larger group with a common purpose.

For viola player Paul Casey the luxury of spending extra time with the repertoire is something he appreciates. "It's actually nice to get a chance to really learn the repertoire and perform it many times in a row. It just sticks with you and creates a lot of memories" says Paul. 

Musician Marjolaine Fournier "is proud to sharing the music of the NAC Orchestra." And for second horn player Elizabeth Simpson hearing Maestro Zukerman perform the Bruch "is going to be a very special experience for all of us."

The First World War is particularly significant to Canadians and is often portrayed as a pivotal moment in Canadian history when Canada came of age as a nation. The 2014 UK Tour will honour the legacy of the Great War through music by marking this important anniversary and engaging young people in Canada and the UK in their shared history.

The NAC Orchestra will perform concerts and participate in educational activities in Edinburgh, Nottingham, London, Salisbury and Bristol.

Explore the UK Tour website.

In the beautiful setting of the NGC Great Hall, DTH artists led their engaging workshop called Dancing in the Streets, which offers a firsthand look at the company’s repertoire and cultural heritage. The students grooved to James Brown’s music in a session that sparked curiosity, confidence, and connection, leaving everyone inspired and energized by the power of dance.

Teachers were delighted with the experience, noting how “seeing students participate made the space come alive!” and that “the Dance Workshop with Dance Theatre of Harlem was EVERYTHING!!!”

Sioned Watkins, NAC Dance Education Associate and Teaching Artist was on site and witnessed the profound impact of this moment of artistic exchange.

The connective energy between the students and the professionals was palpable and inspired self confidence in the youth.

NAC Dance gratefully acknowledges the National Gallery of Canada for their valued partnership, which played a vital role in the success of this initiative.

Photos: Craig Conoley

Coming this fall: L’Orestie (The Oresteia) by Aeschylus, directed by AliceRonfard

Having taken on Michel Tremblay’s body of work in the unforgettable Traversée du siècle, Alice Ronfard tackles the seminal text of Western theatre, if not of Western thought. Like an ambitious theatrical river, her adaptation flows from ancient Greece to the present day, carrying with it the timeless question of justice. Three tragedies, thirty-three performers (including a large chorus and three musicians): an epic journey through the centuries.

With its stellar cast, this sweeping theatrical fresco promises a bold reimagining of The Oresteia. An original production by Théâtre du Nouveau Monde and NAC French Theatre, co-produced by the NAC’s National Creation Fund.

Coming this winter: Bashir Lazhar by Evelyne de la Chenelière, directed by Marie Brassard

A sensation when it premiered in 2007, this polyphonic monologue by Evelyne de la Chenelière still resonates with audiences today, prompting us to question our value system and educational system. Directed by Marie Brassard, Mani Soleymanlou brings his own personal background to the iconic role of the teacher from abroad, offering us a compelling lesson in humanity. Produced by Théâtre du Nouveau Monde, co-produced by NAC French Theatre.

“I’m delighted and honoured to offer you a sneak preview of two productions from our 2026–2027 season, a season I believe will be truly spectacular. Through these productions, I hope to ensure that NAC French Theatre remains a place for meaningful encounters, essential dialogue, and artistic experiences that bring us together and move us. I can’t wait to welcome you back. » Mani Soleymanlou, Artistic Director, NAC French Theatre

As we await the unveiling of the full 2026–27 program, which will be announced shortly, these two offerings already suggest that the season will be ambitious and inclusive.

Rose 

Tonight, we celebrate the opening for acclaimed Cree playwright Tomson Highway’s Rose on World Theatre Day. The show is NAC Indigenous Theatre’s most ambitious and largest production yet. Supported by the NAC’s National Creation Fund, this musical featuring 19 Indigenous actors has been a dream project for Artistic Director Kevin Loring.  

“Rose has never had a professional production, and it's written by Tomson Highway, one of the preeminent artists in the country. When it was first written, it was believed there weren't enough Indigenous performers to mount it with a full Indigenous company—we are no longer in that era. We have such an incredible group of artists from across Turtle Island and their work is stunning. It's historic, it's powerful, the music is incredible. The story itself is epic; it'll break your heart and put it back together again. To be premiering this work on World Theatre Day feels deeply fitting. Theatre exists to hold a community, to tell the stories that need to be told, and this is exactly that kind of show.”

Kevin Loring, Artistic Director, NAC Indigenous Theatre

Visages

Last week, NAC French Theatre premiered playwright and director Alexia Bürger’s Visages, a visually stunning blend of documentary and fiction. This production grew from Artistic Director Mani Soleymanlou’s deep desire to create new work championing original voices. 

“Creating new work means allowing instinct to find a voice and a form, and supporting an idea from its birth through to its encounter with an audience. With Visages, we are offering a rare opportunity to witness the very beginning of a major work’s life through its world premiere. Being able to celebrate this moment —with artists on stage and a full house on World Theatre Day— reminds us of the true power of theatre: making the intangible tangible. Celebrating theatre with theatre in our theatre! What could be better!”

Mani Soleymanlou, Artistic Director, NAC French Theatre

cicadas

In April, NAC English Theatre presents cicadas, a suspenseful and haunting eco-thriller created by playwright David Yee and composer Chris Thornborrow. Originally birthed as a radio play in 2024, Artistic Director Nina Lee Aquino knew from the beginning the story was perfect for a fully staged theatrical production. The production marks the second new work premiered by English Theatre this season, both directed by Aquino. 

“What moves me most about the making of new Canadian work is that it keeps asking who we are — as people in this country, and as people in the world. Even the smallest story can hold something immense: our contradictions, our wounds, our tenderness, our values, our possibility. Sometimes a play is the medicine. Sometimes it shows us where it hurts. Often, if we are lucky, it does both.

That is why the making of more new Canadian works matters so deeply. They do not simply entertain us; they help locate us. They help us make meaning of our lives together. They remind us that culture is not a luxury — it is part of how a country breathes, dreams, wrestles, and becomes.”

Nina Lee Aquino, Artistic Director, NAC English Theatre 

The NAC profoundly thanks all the storytellers who continue to develop and create new work for the stage.

Written in the 1950s, the Jolivet concerto has earned a reputation as one of the most demanding works ever composed for the bassoon. It spans the full range of the instrument and rarely lets the soloist rest. “There’s definitely no complacency about this piece at all,” says Darren. “There are moments that are incredibly romantic, moments that are absolutely wild and crazy, moments that are a little bit scary... and moments that are groovy.”

In a conversation recorded ahead of the concert, Darren takes us inside the music: What makes it so relentlessly difficult, what was Jolivet reaching for when he wrote it, and what it means to finally bring it to Southam Hall with the NAC Orchestra. He also reflects on something NACO audiences know instinctively but rarely hear described from the players’ perspective: what it feels like when one of the orchestra’s own steps out in front. Watch the full interview above.

Darren Hicks performs the Jolivet Bassoon Concerto with the NAC Orchestra on April 1-2, 2026, at the National Arts Centre. If you’re in the capital, we’d love to see you there. See the full program and get tickets on our website.

Our season is a bit different – it unfolds over time as new creations come to life. Today, our season continues to unfold through our latest investment: It’s a Good Life If You Don’t Weaken, a new musical featuring the music of the Tragically Hip, co-produced by Theatre Aquarius and Thousand Islands Playhouse.  

It’s a Good Life If You Don’t Weaken is a rock concert wrapped in a play and a play wrapped up in a rock concert. It is a celebration of home and a love story about chosen family across borders, brought to life with the music of The Tragically Hip. If you’d like a sneak peek, the cast will be performing one of the songs on CBC Radio’s Q on Friday morning as part of JUNO week in Hamilton. 

The creative team is fantastic, and includes lead producer Michael Rubinoff, book writers Ahmed Moneka and Jesse LaVercombe, and director Mary Francis Moore. I’ve invited them to tell us a bit more about the work.

Michael, where did the initial idea come from?  

The music of The Tragically Hip is the soundtrack to Canada, having captured so much of this country through the band's brilliant lyrics and musical storytelling. I knew this music could support a very compelling story on stage, bringing people together again to celebrate the music. It’s a Good Life If You Don’t Weaken is the story of so many Canadians: against all odds, building a new life in a new place and redefining what home means. It is a celebration of grit, a reflection on belonging, and an invitation for local audiences and the world to hear our story through the music that defines us.  

Ahmed, like The Tragically Hip, you are a musician and poet. What does their music mean to you?  

Listening to The Tragically Hip over the past three years, as we worked on the piece, feels completely different than before. Their music is a significant source of inspiration to me, as an artist, in how to respond to the time and place I am part of. They respond to their time and place poetically, politically, metaphorically, sarcastically, emotionally, romantically, and joyfully. Every song tells a story. The sincerity of their music storytelling and its edginess stay with me. Gord’s farewell and his encouragement, with love and togetherness, until the very last minute, resonate deeply. I am in love with them.  

Ahmed, how does it feel to  weave  their music  with your own, and bring to life  this story?  

I’ve learned not to get stuck in one genre or one colour of music. Keep experimenting and respond to the story of the song. When you listen to their albums, they have beautiful arcs that take you on a journey, and every album is a book. In this piece, their music is sometimes emotional scoring for a scene, and sometimes we write a scene based on the experience of the song itself.  

Jesse, how is the creation process going? How is it pushing you? What’s surprising you?  

This process is like being on a roller coaster with your best friend, it’s joy and a thrill. Ahmed and I are learning so much about musical storytelling and about collaboration—both with our incredibly smart and generous creative team and with each other. It’s pushing me to listen. As a writer, it’s pushing me to adapt and to focus, always, on the core—the core of the conflict, of the character, of the song, and of the story. What’s surprising me is talking to Canadians about what The Hip means to them and hearing consistent and beautiful answers. Thank you for including me on this journey. 

Mary Francis, what do you hope to offer audiences, both those who love the Tragically Hip and those who might not have heard their music before?  

I know audiences are going to fall in love with the arrangements of these iconic songs, and to discover them through the lens of this story will be thrilling for audiences who are long time Hip fans. This is a deeply personal story for our writers with a universal heart that I think audiences can’t help but respond to. 
 

***

It’s a Good Life If You Don’t Weaken is produced by permission of David and Hannah Mirvish and Michael Rubinoff. It premieres at Theatre Aquarius on May 1st, followed by a run at Kingston’s Grand Theatre, presented by the Thousand Islands Playhouse, from October 22 to November 8. We hope you’ll join us, and cheer on this great new musical!

Long before an opera reaches its opening night, it passes through rooms like this one: A rehearsal hall, a circle of musicians, a conductor at the podium and a composer nearby, listening. 

This week, the NAC Orchestra gathered for a workshop score-reading of Empire of Wild, the new opera co-commissioned by the National Arts Centre and the Canadian Opera Company. Resident Conductor Henry Kennedy led the session, with composer Ian Cusson present throughout, hearing his music played by a full orchestra, responding and refining as the session unfolds. 

“As always, it is incredibly valuable to hear the work before we go into production. This gives me the chance to hear a much closer approximation of the dimensions of the piece, which isn’t possible in a piano-vocal workshop, and to edit the work and fix any problem areas we discover... What I am primarily listening for at this stage is density and balance, making sure that critical areas aren’t impossible to sing over.” 

Ian Cusson, composer

These workshops are an essential and often invisible part of creating new work. Musicians encounter the score with fresh eyes, raising questions that only emerge in live performance. A balance issue in the brass? A tempo that needs room to breathe? The composer listens and responds. It’s a conversation that can’t happen any other way. 

A story rooted in the land 

Empire of Wild draws from Métis folklore and the legend of the rougarou—a shapeshifting figure that stalks both the story and the score—in an opera that moves between the grit of small-town Ontario and the pull of the spirit world. 

Librettist Cherie Dimaline adapted the work from her acclaimed 2019 bestseller of the same name. She and composer Ian Cusson are both members of the Georgian Bay Métis community, and the opera unfolds on land their families have called home for generations… a connection that is virtually without precedent in opera. The production is directed by Yvette Nolan, an Algonquin playwright and director. 

A milestone for Canadian creation

Empire of Wild marks the 100th investment by the NAC’s National Creation Fund, which has supported more than 115 new productions and committed over $17.4 million to Canadian creation since 2018. It is only the eighth mainstage opera commissioned by the Canadian Opera Company since 1950, developed through nearly a decade of community-rooted work. 

The world premiere is set for May 2027 in Toronto. But the work is happening now, in sessions like this one, where the score meets an orchestra for the first time, and a composer gets to hear what they’ve been imagining. 

Read more about Empire of Wild on the National Creation Fund website. 

Last fall, Peter Duschenes, the co-founder and Artistic Director of Platypus Theatre, announced that the 2025–2026 season would be the company’s last.

“The joy of Platypus was the palpable feeling of the impact we were making on the lives of young people. With the challenging world we are now facing, where so much of what young people are exposed to is dark and frightening, it’s more important than ever for them to experience the life-affirming power of the arts.”

— Peter Duschenes

Bringing music to life for young audiences

Since 1989, Platypus has delighted hundreds of thousands of children and their families with its signature crowd-pleasing productions, introducing classical music to young audiences through interactive, playful, and imaginative performances. Over its nearly four-decade history, the company has been celebrated for its unique blend of storytelling, acting, puppetry, masks, costumes, and dance with orchestral music—a combination that routinely sparked curiosity and wonder among audiences of all ages.

As one of North America’s premier theatre companies dedicated to learning and engagement through music, Platypus has collaborated with more than 75 orchestras worldwide, including the NAC Orchestra.

A decades-long partnership

The NAC Orchestra’s relationship with Platypus dates back nearly 30 years, to its first performance of How the Gimquat Found Her Song in November 1997. Since then, Platypus has been an integral part of the NAC Orchestra’s family and youth programming, delivering exceptional bilingual performances that have inspired thousands of children across the National Capital Region and beyond. For many young people, its productions have been a meaningful and memorable entry point into classical music and the performing arts.

Over the years, the NAC Orchestra has collaborated with Platypus on dozens of memorable productions, including Emily Saves the Orchestra, Charlotte and the Music-Maker, Bach to the Future, A Flicker of Light on a Winter’s Night, and Presto, Mambo!, which it commissioned alongside three other Canadian orchestras. Platypus brought unmatched creativity and fresh perspectives to each show, raising the bar for inclusive, accessible, and impactful family-friendly programming.

A Final bow under a midnight moon

In February, the NAC Orchestra and Platypus Theatre, in partnership with the NAC’s BIG BANG Festival, presented Music Under a Midnight Moon (also known as Rhythm in Your Rubbish) to a full house in Southam Hall, a fitting farewell to an artistic collaboration rooted in empowering the next generation. Originally commissioned by the NAC for school audiences, the NAC Orchestra also brought Music Under a Midnight Moon to Meridian Theatres at Centrepointe for two sold-out student matinees for local schools. These final performances offered a heartfelt goodbye to dear friends—one last celebration of imagination, artistry, and the joy of discovery.

The NAC Orchestra is honoured to have counted Platypus Theatre as a trusted collaborator. Its legacy will endure in the countless young lives it has touched and in the love of music it has helped nurture across generations of audiences.

Co-choreographers Emily Gualtieri and David Albert-Toth are known for embracing friction and multiplicity in their work. With LABOUR, they turn their focus to the often-overlooked labour of care that womxn have carried throughout history, channeling it into a work driven by highly physical choreography and striking visual imagery.

Performed by a cast of five artists spanning cultures and generations, LABOUR becomes a living bridge between feminist mythological archetypes and contemporary reclamations of power. In exploring these ideas, the work evokes the many ways labour shapes, sustains, and transforms:

For me, LABOUR is community, it’s the instinct for survival, the reappropriation of oneself through a society. 

Lou-Anne Rousseau, Performer

On stage, these perspectives unfold in ways that feel immediate and deeply human, inviting audiences into a shared experience of endurance and transformation.

Through endurance and collaboration, LABOUR is a reflection on the strength that emerges when women support one another, a reminder of the spirit celebrated on International Women’s Day.

Learn more about this incisive work in a Q&A with the choreographers Emily Gualtieri and David Albert-Toth.

Q: What guided your selection of performers for this piece? Why these womxn?

A: We wanted people who were mothers. We wanted people from different cultural backgrounds and lived experiences, and different gender identities. This idea of body autonomy, and what it means to be a femme-identifying person in 2026, is lived differently by different folks. Creating a cast that holds that multiplicity was important to us, not only for the richness it brings to the work, but so audiences can encounter lives and bodies onstage that may resonate with their own. – David Albert-Toth

Q: Can you tell us about how you incorporated humour in LABOUR or how the contrast between drama and humor unfolds?

A: It’s highly physical, but the absurdity and humour come from a recognition that life itself is absurd and hilarious. The patriarchal constructs and standards that start to define us are completely insane, even though we still find ourselves trying to live up to them. – Emily Gualtieri

Q: How does the piece explore the tension between belonging and standing out?

A: I heard a quote that really resonated with me, which is: the antithesis of capitalism is community. And I really have that as a mantra for creating LABOUR. The way that we will excel is to bring our uniqueness together, to support one another, in order to move forward. – Emily Gualtieri

Q: Why anchor the piece in the two-step, and how does it reflect the tension between harmony and dissonance?

A: This piece started with the idea of the two-step, because we really wanted to move away from embellished choreography. We wanted to move away from our tendencies, from the things that felt comfortable and step outside of our comfort zone. We're trying to look inwards, look deeply, and there's an entire world of logic, of absurdity, of fantasy, of drama, of comedy, of humanity in this single unifying step. And it's the little bit of glue that allows all of the individuals on stage to actually orbit out of it and find their individual voices. They’re just held by this one thread.

What’s guiding is maintaining the relationship between mastery and mess. The two-step is really allowing us to do that. And that's what the audience is going to see on stage; this living relationship, conflictual at times, and harmonious at others, between mastery and mess. I think all humanity is there in that. – David Albert-Toth

One thing is for certain: in this time of generation-defining events, we must champion our artists. Culture doesn’t just represent our collective identity – it creates it. Let’s take action and invest in a culturally transformative future for all.

In that spirit, I’m delighted to celebrate two new creations we are honoured to invest in. 

Queen of the Strait – Cradled by the Waves
Jenn Grant

Halifax-based artist Jenn Grant transforms her forthcoming album, Queen of the Strait, into a multimedia performance that is her most personal work to date. Queen of the Strait – Cradled by the Waves draws from her childhood in Prince Edward Island and the timeless pull of the Atlantic. The live experience reimagines her songs in motion – a moving meditation on grief, transformation, and the beauty of beginning again. 

“The Fund has given me the first opportunity in my nearly 20-year career to develop a show that challenges my artistry, skill and imagination in a way that is so exciting and celebratory. These stories of mine are universal among their themes of grief, loss, abuse, love and transcendence.”

– Jenn Grant, Creator

Our investment of $150,000 supports a rich interdisciplinary creation process, including workshops in Charlottetown, Toronto, and Halifax; and residencies in Dublin and Toronto. Our investment also enables the creative team to conduct further development after the first tour leg.   

Waiting for Godot - Inuktitut

Co-produced by 662 OVA & Volcano Theatre in association with the Great Canadian Theatre Company, NAC Indigenous Theatre, and the NAC's National Creation Fund. 

Over the course of seven years, a group of five Inuit translators worked on Samuel Beckett’s famous play – creating not only the first-ever Inuktitut version of this 20th century classic, but one of the only translations of contemporary world drama into Inuktitut. Waiting for Godot – Inuktitut repurposes the story to shed light on the place of Inuit within Canada.

“I developed a deep connection to Waiting for Godot when I was eighteen. I saw then, and I still see now, our story: the relationship of powerlessness to power; how we find humour in place of hardship; the idea of endless waiting for resolution, or answers, or God.”

– Tatanniq Idlout, Co-director, co-translator, and project lead 

Our investment of $220,000 supports language and dialect training in Ottawa and Nunavut, including a 10-day intensive in Igloolik. Our investment also enables the full team to gather in Ottawa at the Great Canadian Theatre Company for a two-week workshop, which will include a special community event for the creative team and Ottawa Inuit. Finally, we’ll help bring the company together to tackle the technical challenges of both an NAC run and a remote-community tour of Nunavut.

“This investment gives us what Indigenous language work needs most: time. Time for our performers to learn the dialects of their characters, time for elders to guide us, time for Inuktitut to find its home in Beckett’s text. We need time to create solutions for remote community touring, for honouring culturally correct costuming, and to invite audiences, especially Inuit audiences, to a first-of-its kind piece of theatre. These are processes far more involved than are usually part of non-Indigenous theatre projects – made possible only with Creation Fund investment.” 

– Tatanniq Idoult

Let’s continue to champion investment in culture and to celebrate the incredible artists of this land.

During Francophonie Month, you can see Y’a quoi dans un nom? (“What’s in a name?”), a collaborative project by Franco-Albertan author Josée Thibeault and Franco-Manitoban illustrator Chantal Piché. The work celebrates the presence of French in Alberta going back more than three centuries.

The timing of this spotlight on Alberta’s Francophone community for Francophonie Month and in 2026 is particularly fitting, as the Association canadienne-française de l’Alberta (ACFA) is marking its 100th anniversary and the province has designated 2026 as the Year of the Francophonie.

Did you know that French was the first European language spoken in the territory that would become Alberta? This fact is reflected in Josée Thibeault’s poem, which inspired the visual work that will illuminate the Kipnes Lantern throughout March.
 

Y’a quoi dans un nom

(translated from French)

Y’a quoi dans un nom?
(What’s in a name?)

Y’a quoi dans un nom?
Shakespeare’s Juliet sighs
(“What’s in a name?”)
(a rose by any other name
would smell as sweet)

Y’a quoi dans un nom?
(What’s in a name?)

Here, at home, names all around
in the language of Molière
the language of Bugnet, Michelet, Primeau, Levasseur-Ouimet
the language of Requier, Villeneuve, Préfontaine, Lohka, Verret
the language of Salva, Suraki Watum, Mathurin, Bourgault-Dallaire

These place names everywhere, 
in French or derived from French
A language spoken in Alberta
for a very long time now
Explorers, coureurs des bois
named lakes and rivers
with their words slung over their shoulders
mother tongue of a new France

They named these new places
like the spontaneous song of a bird

Lac la Biche
Lac la Nonne
Lac des Arcs
Lac des Esclaves
Lac Canard
Rivière Bataille
Rivière Boucane
Rivière-la-Paix
Rivière-qui-Barre
Roche Bonhomme
Roche à Perdrix
Fort Providence
Fort des Prairies

By mingling with the local peoples
mixing languages and skin colours
the names of things in the  landscape
sowed the seeds of the language used

Slope, coulée
“COTEAU,” “COULEE”

Rapids, portage
“RAPIDE,” “PORTAGE”

Beaver, butte, plain
“CASTOR,” “BUTTE,” “PRÉ”

Mission, point, cache
“MISSION,” “POINTE,” “CACHE”

The missionaries and parishioners
drew inspiration from the names of saints

in St-Albert, in Lac Ste-Anne
in Ste-Lina and St-Édouard
Sacré Coeur, Notre-Dame
St-Paul-des-Cris or Des-Métis
St-Isidore, St-Jean-Baptiste

By coming and settling here
They said it all in a single cry:

Beaumont, Bellevue
Boisvert, Grosse Butte
Boisjoli…
Grande Prairie!

Founding villages and towns,
they gave them family names:

Morinville
Rouleauville
Vegreville
Brièreville
Édouardville
Girouxville
Bonnyville

Historical figures 
inspired place names that took root:

Plamondon, Marie-Reine
Provost, Mallaig
Lacombe, Duhamel
LamoUreux, Brosseau
Legal, Brazeau
Trochu, Grandin
Leduc, Chauvin
Foisy, Thérien
Falher, Grouard
Balzac, Joussard
Dréau, Duvernay
Tangent, Donnelly
Lafond, La Corey
Guy, Jean-Côté

Y’a quoi dans un nom?
(What’s in a name?)
A slight accent, a starting point
A song, or roots?
A history, an identity
A right to speak or to exist?

Y’a quoi dans un nom?

This spring, Music Director Alexander Shelley will lead the Orchestra on a visit to Canada’s East Coast, with performances in New Brunswick and Nova Scotia.

Joining NACO and Shelley as a special guest throughout the tour is acclaimed Wolastoqiyik composer and singer-songwriter Jeremy Dutcher—a two-time Polaris Music Prize winner and the 2025 recipient of the NAC Award at the Governor General’s Performing Arts Awards.

Dutcher, a member of the Tobique First Nation in Northern New Brunswick, made his headlining debut with NACO at the 2024 edition of SPHERE festival.

This latest collaboration includes three public concerts in Nova Scotia (Eskasoni, Halifax, and Wolfville) and features a powerful blend of Wəlastəkwey songs and storytelling with orchestral performance. The tour also includes a small-ensemble performance in Fredericton, New Brunswick, for members of the local Wabanaki communities and other guests.

“It was at the encouragement of my mentor, Elder Dr. Maggie Paul (Peskotomuhkati Nation), who told me it was her dream to hear our old songs lifted up by symphonic voices. With this direction, I set out to lift our songs to these heights. It is so meaningful to bring an ensemble as fantastic as the NAC Orchestra to Wabanaki Territory (New Brunswick and Nova Scotia), and to have our songs and language underscored by Canada’s orchestra, in our language, in our homelands.”

— Jeremy Dutcher

A journey back to Eskasoni

This tour is a milestone in Shelley’s final season as Music Director and includes a meaningful return to Eskasoni First Nation on Cape Breton Island. NACO and Shelley first visited the community during the 2017 Canada 150 Tour, performing I Lost My Talk, an NAC Orchestra commission based on the poem by the late Mi’kmaw writer and Elder Rita Joe, on her ancestral land. Inspired by Joe’s experience at the Shubenacadie Residential School, the poem was set to music by Canadian composer John Estacio as part of Life Reflected, a multimedia project honouring four remarkable Canadian women, including Joe.

“Our 2017 tour left indelible memories for me—the warm reception we received and the special musical moments we shared have stayed with me since. I’m grateful to be returning in this, my final season, and to have the opportunity to say a heartfelt thank-you to these wonderful communities and further deepen the NAC’s relationship with them. To do this alongside my friend Jeremy Dutcher—an icon for so many—is the icing on the cake.”

— Alexander Shelley

Centring Indigenous voices and languages

Singer-songwriter Emma Stevens from the Eskasoni First Nation is also a featured artist on this tour. Her music and activism are deeply rooted in her Mi’kmaq heritage. Through language, storytelling, and song, she amplifies Indigenous voices, ensuring her community’s stories and wisdom are heard and honoured. As a teenager, Stevens first gained international attention for her Mi’kmaq-language rendition of the Beatles’ classic “Blackbird,” released in 2019 for the United Nations International Year of Indigenous Languages. Since then, she has released numerous original songs and music videos, toured internationally, and shared her voice on stages worldwide.

Reconciliation through community connection

This tour offers meaningful opportunities for connection through performances and Indigenous-centred community engagement. It creates space for authentic knowledge sharing and supports the NAC’s ongoing commitment to advancing reconciliation with Indigenous Peoples through the arts.

Tour concert dates

• April 14, 2026: Dan K. Stevens Memorial Arena, Eskasoni, Nova Scotia
• April 16, 2026: Rebecca Cohn Auditorium, Halifax, Nova Scotia
• April 17, 2026: Festival Theatre at Acadia University, Wolfville, Nova Scotia

The National Arts Centre would like to thank Lead Donor R.N.C. Tennant, Frank and Debbi Sobey, and Sherry Porter and Doug Hall for making this tour possible.

The 2026 Governor General’s Performing Arts Awards (GGPAA) for Lifetime Artistic Achievement recognize artists who have made an indelible contribution to cultural life in Canada and around the world. Join the celebrations on June 6 as the laureates are honoured at the GGPAA evening at the National Arts Centre!

Meet the 2026 laureates

Susan Benson, C.M. – Set and costume designer and painter

Susan Benson is one of Canada’s leading set and costume designers, whose artistic vision has shaped stage productions across Canada and internationally. A creative trailblazer, she has designed for major theatre, opera, and ballet companies across Canada, notably the Stratford Festival, as well as for international productions. She is also an accomplished painter whose work has been shown in Canadian galleries and group exhibitions.

James Cameron, C.C. – Filmmaker, explorer, inventor and environmental entrepreneur

James Cameron is an acclaimed filmmaker, explorer, inventor and environmental entrepreneur. As director, writer and producer, he is responsible for The Terminator, Aliens, The Abyss, Terminator 2: Judgment Day, True Lies, Titanic, Avatar, Avatar: The Way of Water, and Avatar: Fire and Ash, as well as 12 documentaries, including Ghosts of the Abyss, The Game Changers, and the Emmy-winning Secrets of the Whales. His 1997 film Titanic held the record for highest-grossing film in the world for 12 years, surpassed only by his own Avatar in 2009. His films have earned numerous nominations and awards, most notably Titanic’s record 11 Oscars, including Best Picture. He has written, produced and directed three of the four highest-grossing films in history.

Sylvain Émard – Dancer, choreographer and teacher

One of Canada’s foremost choreographers, Sylvain Émard has created more than 40 original works and has made an enduring contribution to contemporary dance in Canada and internationally. His practice is grounded in his keen interest in the body’s expressive power and in the dynamics of human physicality and interconnection. From meditative solos to large-scale communal pieces and an immersive installation, his work stands out for its precision, inventiveness, and inclusivity, bridging the gap between high art and popular dance, professional performers and amateurs, intimacy and spectacle.

Daniel Lavoie, O.C. – Singer–songwriter, performer and poet

Daniel Lavoie has had a profound impact on popular music in Canada and on our country’s cultural landscape. A Franco-Manitoban of great integrity and authenticity, he has won the hearts of audiences worldwide with his pop-rock songs, performed in both French and English. In particular, “Ils s’aiment” was a massive hit in Canada and Europe, and “Jours de plaine” has become an anthem of sorts for Francophones in Western Canada. Alongside his award-winning albums, he is acclaimed for his live performances of his original compositions and for his dynamic portrayal of Frollo in the blockbuster musical Notre-Dame de Paris.

Tonya Williams, O.C. – Screen actor and producer, arts executive and activist

Tonya Williams is an award-winning actor, producer, arts executive, and activist, widely recognized by television audiences for her work in numerous Canadian series and for her iconic, long-running role as Dr. Olivia Winters on The Young and the Restless. She is also known as the founder of Reelworld, a groundbreaking organization dedicated to advancing equity and inclusion in Canada’s screen industries. Throughout her career, she has blended artistic achievement with tireless activism, shaping a more inclusive future for storytellers in Canada. She currently serves on the Ontario Creates Industry Advisory Committee.

Ramon John Hnatyshyn Award for Voluntarism in the Performing Arts

The Ramon John Hnatyshyn Award for Voluntarism in the Performing Arts recognizes outstanding contribution by an individual or group in voluntary service to the performing arts in Canada:

Sae Hoon (Stan) Chung

Sae Hoon (Stan) Chung is a writer, educator, and consultant whose career is deeply intertwined with service to arts organizations, public institutions, and Indigenous communities. He has played a crucial role in enhancing accessibility and relevance in arts programs in his home province of British Columbia, notably during his tenure as chair of the BC Arts Council, and his dedication to promoting diversity, inclusivity, equity, and community-centred stewardship, particularly in non-urban and Indigenous communities, has had a tremendous influence on organizations nationwide. Recognized as a champion for change in Canada’s arts community, he continues to contribute his time and expertise to advancing cultural and educational equity.

The National Arts Centre Award

The National Arts Centre Award recognizes work of an extraordinary nature by an individual artist or company in the past performance year:

Barbara Hannigan, C.M. – Soprano and conductor

Internationally acclaimed for her groundbreaking dual career as a soprano and conductor, Barbara Hannigan is one of the world’s foremost champions of contemporary classical music. Her vocal career is especially associated with new music: she has premiered more than 100 works written specifically for her. She has worked closely with renowned composers, directors, and choreographers, and appeared as a conductor with major orchestras worldwide, establishing a reputation for creating innovative concert programs that broaden listeners’ horizons by interweaving contemporary and classical repertoire in a highly dramatic and engaging way.

This year, multi-instrumentalist and multidisciplinary artist Benoît Fortier and theatre artist Gabrielle Bouthillier from Quebec City’s E27 musiques nouvelles collective were matched with a group of Grade 5 and 6 students from the Foul’Arts program (in French, directed by Vikie Lemieux-Viau) at École élémentaire catholique Jean-Robert-Gauthier in Barrhaven. The two professional artists invited the students to dive into a world where sounds become colours, gestures, and shapes, and where drawings turn into sound. A musical idea becomes an image, a pencil stroke becomes a rhythm, and presto! Magic happens! 

“It’s all about discovering sounds. I think the students are a little surprised at first, but they quickly get into it. The games we invite them to play involve imagining, drawing, and playing music according to codes that we invent together. By creating our own codes through creative thinking and discussion, we hope to make the process of composing music more accessible by eliminating the need to learn the rules and conventions of traditional notation.”
Benoît Fortier, Multi-instrumentalist and multidisciplinary artist 

During the three days of workshops, students enrolled in Foul’Arts—a program designed to foster their love of the performing arts—explore musical creation through improvisation and visual expression. The objective is to create an original and poetic work, both visual and sound-based, that will be unveiled at the BIG BANG festival. 

Through his workshops, Fortier aims to “stimulate the participants’ imagination and creativity, develop their spontaneity, and encourage them to trust their instincts. And help them enjoy being exposed or introduced to this modern approach to making music.” 

“We cover educational elements—for example, sound can be described in terms of its timbre, intensity, duration, and pitch. We encourage the students to explore the full spectrum of these characteristics without any constraints on how the music is written.” 

Benoît Fortier, Multi-instrumentalist and multidisciplinary artist 

The result is a rich and vibrant mosaic where music and drawing intertwine, revealing an imaginary world as luminous as it is surprising!

Last fall, as John Storgårds returned to the NAC for his first concerts since being announced as Music Director Designate, journalist Paul Wells sat down with the Finnish maestro for a revealing conversation that went far beyond the usual “tell us about your vision” platitudes. What emerged was a portrait of an artist whose path to the podium was anything but conventional—and whose approach to music-making is refreshingly honest, deeply collaborative, and occasionally laugh-out-loud surprising. 

This post-show chat followed Storgårds’s 27th concert program leading the NAC Orchestra over a 13-year relationship. As he transitions from beloved Principal Guest Conductor to artistic leader, we wanted to know: Who is this guy, really? And what can we expect from this partnership? 

Turns out, the answers are far more interesting than we expected. Here are five things you could only learn by listening to the full conversation. 

1. He became a conductor by accident 

Most conductors dream of the podium from childhood. Storgårds? He hadn’t even studied conducting until nearly age 30. 

The origin story is surprisingly practical: Storgårds was already a successful professional violinist playing chamber music—repertoire that typically doesn’t require a conductor. But occasionally, a program would include one piece that did need conducting. Rather than hire a conductor for just 10 minutes of a longer concert, the orchestras would say: “Can you just do this piece?” 

So, he tried it. And tried it again. “I didn’t even think about becoming a conductor,” admits Storgårds, who was almost 30 and established as a violinist with solo and concertmaster credits. “I hadn’t planned that.” 

He still travels with his violin everywhere. 

2. Finland’s conductor factory 

How does Finland produce so many world-class conductors? Finland has more professional orchestra per capita than anywhere else. Almost every city has its own professional orchestra, even in small towns. This gives young conductors far more opportunities to gain professional experience early. 

And in Finland, everyone knows everyone. The orchestras stay in touch, and so do the conductors. Storgårds knew about the NAC’s history before ever conducting here, particularly the connection to Finnish colleagues. Jukka-Pekka Saraste had been here; Esa-Pekka Salonen was once his teacher in Helsinki. There’s apparently a Finnish conductor network that knows all about Ottawa. 

3. The Avanti! Chamber Orchestra philosophy is kind of punk 

Storgårds grew up musically in the 1980s and ‘90s with Avanti!, a group that deliberately worked outside established institutions like the Sibelius Academy. They premiered living composers like Xenakis, Donatoni, and Ligeti, mixing wild contemporary music with classical chamber repertoire. Look at Finnish orchestras now, he says, and “it’s actually quite amazing” how naturally new music is integrated into regular subscription concerts. 

4. His love for Haydn 

Storgårds’s explanation of Haydn is refreshingly subversive: he loves that Haydn doesn’t micromanage with precise dynamics and instructions. Haydn just “gives you tools” and trusts musicians to figure it out. For a conductor to praise a composer for not giving detailed instructions is unexpectedly cool. 

Paul Wells tries to get him to reveal future plans, and Storgårds teases: “There’s some Haydn coming, but I won’t say more!” 

5. The NAC Orchestra’s repertoire has dramatically expanded  

When Storgårds first came to Ottawa in 2013, he had certain expectations about what repertoire he could program as a guest conductor. Those expectations have been thoroughly shattered. 

“During the years, things have changed and it has become much more common and possible for me as a guest here to do much wider repertoire than what I expected in those first years,” he explained. “Which is fantastic.” 

This isn’t just about him getting to conduct more interesting music. Storgårds is keenly aware of what this means for the orchestra members themselves. “From the perspective of all the musicians in the orchestra, they have more possibilities now to touch all kinds of repertoire.” 

It’s the kind of virtuous cycle that happens when a conductor and an orchestra truly grow together over more than a decade. If this is what happened during his guest conductor years, imagine what’s possible now that he has the freedom to shape entire seasons. 

From accidental conductor to Music Director Designate, John Storgårds’s path has been anything but conventional. But maybe that’s what makes him right for this moment. He didn’t set out to conquer the conducting world. He never abandoned his violin, never stopped being a player at heart. And now, after 13 years of building trust and understanding with the NAC Orchestra, he’s ready to lead. 

Earlier this winter, three Canadian conductors participated in a masterclass with the NAC Orchestra and five-time Grammy-nominated conductor Marin Alsop—a legendary figure and a global leader in classical music.

• Léa Moisan-Perrier — Assistant Conductor, Orchestre Métropolitain; Associate Conductor, Women in Musical Leadership (Tapestry Opera)
• Soo Jin Chung — 2026 La Maestra International Competition for Women Conductors candidate; former NACO Mentorship Program participant (2024)
• Serena Reuten — Assistant Conductor of the Omaha Symphony; former NACO Mentorship Program participant (2022)

The conductors selected for this exceptional opportunity received real-time feedback from Alsop, who is internationally renowned not only for her artistry but also for breaking barriers for women on the podium.

“It’s inspiring to be a part of something so empowering to young musicians, especially young women.”

Rachel Mercer, Principal Cello, NAC Orchestra

Alsop made history as the first woman to serve as the head of major orchestras in the United States, Brazil, the United Kingdom, and Vienna. In 2002, she founded the Taki Alsop Conducting Fellowship, which has launched dozens of women into orchestral leadership roles worldwide.

Today, Alsop serves as Artistic Director and Chief Conductor of the Polish National Radio Symphony Orchestra, Principal Guest Conductor of both the Philharmonia Orchestra in London and The Philadelphia Orchestra, and Chief Conductor of the Ravinia Festival, where she leads the Chicago Symphony Orchestra’s annual summer residencies. She is also Music Director Laureate of the Baltimore Symphony Orchestra, which she led for 14 years.

The masterclass began with a preparatory session and score study with Alsop. The next day, each conductor took the podium in Southam Hall to lead the NAC Orchestra in a rehearsal of Beethoven’s Symphony No. 3, “Eroica.”

Through partnerships with visionary performers such as Marin Alsop, the NAC continues to shape a more inclusive future for artists—empowering Canadian talent to lead with confidence, creativity, and excellence on and off the stage.

Inspired by her Black Nova Scotian experience, Nessy’s work draws on a coastal visual language to honour the deep roots of 52 historic African Nova Scotian communities and their enduring relationship to land, water, and place. 

We caught up with her to find out more about her work, and about what inspires and drives her as a young Black Nova Scotian artist.

What does it mean to you to be a young Black Nova Scotian artist creating today?

To me, being a young Black Nova Scotian artist means creating from a place of deep history while still making space for joy, experimentation, and personal expression. Black Nova Scotians have been here for generations, yet our stories and perspectives are often overlooked within the broader Canadian narrative.

Creating today feels both empowering and responsibility driven.  I’m contributing to a visual language that reflects where I come from, while also challenging what people think Black art from Nova Scotia is supposed to look like.

Walk us through your creative process. How did you approach Encoded in us for the NAC’s Kipnes Lantern?  

I wanted to highlight elements of the Scotian coastal landscape because Nova Scotia and the East Coast are often left out of the Black Canadian experience, which is ironic given how rich our history is. For this piece, I drew inspiration from the coastline as a symbol of roots, movement, and continuity. Embedded throughout the work are Adinkra symbols representing values such as Sankofa, leadership, versatility, peace, wisdom, and love. Our heritage and our principles are encoded in our being and have helped us form our unique identity as African Nova Scotians.

What does it take—personally, emotionally, or spiritually—to make art in a society that does not always see Black experiences or stories?

It can be challenging. Often, people are most interested in Black art or stories during February, and while I appreciate the space Black History Month creates, it can feel like that attention fades quickly. As a Black artist, you can sometimes feel creatively boxed in and expected to always produce work that is heavy or centered on struggle. While those stories matter, we also deserve the freedom to create joyful, playful, or experimental work. Navigating that reality takes confidence, self-trust, and a strong sense of who you are as an artist.  

What kind of future for Black artists in Nova Scotia—and in Canada—are you hoping your work helps to build?

I hope my work encourages other Black artists and creatives to keep going. There is value in creating, even when it feels unseen. Someone will connect with it, someone will love it, and someone will support it. I want to help build a future where Black artists feel encouraged to take up space, explore freely, and trust that their work belongs.

Who are some key Black artists (past or present) that have influenced you?

I wouldn’t say I have one key influence, but I’m deeply inspired by artists working in my city, such as Leticia Fraser and Preston Pavlis. I’m especially drawn to artists whose approaches differ from my own. I admire their perspectives, techniques, and the way they each navigate storytelling through their work. It pushes me to think differently about my own practice.

What’s one thing about Nova Scotia’s Black history or culture that you wish everyone knew?

There is so much. African Nova Scotians have been in Canada, and in Nova Scotia specifically, for over 400 years, and there are 52 historic Black communities across our province. Our history is foundational, not peripheral. I always encourage people to visit the Black Cultural Centre website, or physically if you’re ever Nova Scotia, and take the time to learn about Black Canadian history.

“It is an honour to serve as part of the conducting team at Canada’s National Arts Centre. Over the past several seasons, we have created music and artistic resources that have inspired young audiences across Canada. I am looking forward to doing even more of the same in the seasons to come, and I am thrilled to have the opportunity to introduce even more young people to the magic of Canada’s NAC Orchestra.”
— Daniel Bartholomew-Poyser

“We’re thrilled Daniel will continue as our Principal Youth Conductor,” adds Nelson McDougall, Managing Director of the NAC Orchestra. “His passion for music and his gift for engaging even the youngest of audiences make every performance an opportunity to inspire and delight. We look forward to seeing how his expanded role will deepen that impact even further.”

Community connections

Since joining the NAC Orchestra in the 2022–2023 season, Daniel has built deep, lasting connections with people of all ages, including families, educators, and community partners. This expanded role reflects his exceptional leadership beyond the stage, bringing orchestral music into communities with limited access to live symphonic experiences. Daniel holds similar community-facing positions with the Toronto Symphony Orchestra, Symphony Nova Scotia, and the San Francisco Symphony and is Music Director of the National Youth Orchestra of Canada.

Under his leadership, the Orchestra’s popular Family Adventures and Student Matinee programs have welcomed thousands of participants each season. By speaking directly to his young audiences, Daniel breaks down complex musical ideas with clarity, humour, and warmth, often sparking a child’s first meaningful connection to orchestral music. Teachers regularly note that students leave Daniel’s performances feeling energized, asking questions, imagining themselves as musicians, and seeing music as a worthy and relevant art form.

Highlights of his tenure include Reggae Roots, co-created with Jamaican-born Canadian singer-songwriter Jah’Mila; inclusive programs such as Steelpan Symphony, Thorgy Thor and the Thorchestra; and the Great Canadian Orchestra Field Trip, a coast-to-coast digital learning initiative that combines live performance, storytelling, and interactive exploration of pressing global issues such as climate change and sustainability.

In his expanded role, Daniel will continue shaping the Orchestra’s family and youth programming while helping lead major community partnerships nationally. He returns to Southam Hall later this season for Why Sci-Fi, a NACO Family Adventures performance celebrating imagination and discovery.

Up next is the 2026 PuSh International Performing Arts Festival, and it’s truly a feast of gifts. I recently read Robin Wall Kimmerer’s book The Serviceberry and was captivated by her invitation to consider every element of our world as a gift. Kimmerer writes: “To name the world as a gift is to feel your membership in the web of reciprocity.” The offering and receiving of gifts invites us into relationship, a dialogue that becomes an alternate form of exchange. 

I was so struck by this framing and began to think: what if we consider each investment we make as a gift? It’s an exchange, an offering that invites artists and their collaborators to dream further. From this, a new gift emerges: the performance, to be shared with audiences around the world. Gifts cascade and evolve and transform. 

The PuSh Festival program includes five National Creation Fund-supported shows: Split Tooth: Saputjiji; Everything Has Disappeared; 2021; Remember that time we met in the future?; and Kiuryaq. While they are wildly different, aesthetically and conceptually, all five are gifts of community and love envisioned by some of Canada’s top artists and brought to fruition through multiyear creative processes. Each are co-presentations with Vancouver-based companies: the Chan Centre for the Performing Arts, Touchstone Theatre, the Cultch, Live Biennale, Matriarchs Uprising, and Music on Main. 

These five productions represent thousands of companies, artists, and communities from coast to coast to coast who understand that creation is a force of joy, expression, and resistance. Their dedication to offering us their wildest dreams is a breathtaking gift. Seeing these shows together offers a mesmerizing snapshot of Canadian creation today, right now.  

I’ll be there with Annabelle Cloutier, making her first trip to Vancouver as the NAC’s new President and CEO. If you’re at PuSh, please say hi! 

And now, I’m excited to share two more gifts: our latest investments!  

Cikilaxʷm: Controlled Burn 
Ballet Kelowna

Cikilaxʷm: Controlled Burn is a full-length narrative ballet set in a dystopian future where wildfire season never ends. The creative team is a dream: choreographer Cameron sinkʷə Fraser-Monroe, composer Cris Derksen, projections by Andy Moro, and costumes by Asa Benally. 

The team shares: “This is not a tale of apocalypse, but of perseverance, of memory that survives and endures, and of land that remembers how to heal.” 

Our investment of $122,000 allows Ballet Kelowna to bring together a fully resourced design team — a first in their history — to conduct two technical residencies, and commission original music from Cris Derksen. Our investment will also contribute to the development of a modular, tour-ready set design adaptable to large theatres, rural venues, and remote communities.  

L'éther
Marie Brassard

Hearing Marie Brassard describe the seeds of a new creation is one of my favourite things. It often starts with a personal story (in this case, an accident on the way to visit a friend in hospital), tumbles into an obsession (here, eccentricity in women), and then journeys through aesthetics and disciplines (music!).  

“Our approach invites us to surrender to intuition and let go of any certainty or safety nets, in order to create a poetic object - a vibrant tribute to life, its bewildering twists and its surprising possibilities.” – Marie Brassard, Director

Our investment of $180,000 supports the recording and filming of interviews with remarkable people; two months of improvisations, sound and text creation; a ten-day creative residency in Italy; and three weeks of work in Marie's Montréal studio leading up to opening night.  

More investment announcements to come! Here's to starting the year off with some great new creations.

On January 7, NACO, led by Resident Conductor Henry Kennedy and French co-host Amélie Trottier, presented Sensory Symphony, two relaxed performances in the Azrieli Studio that redefined what a symphonic concert can look like.

Sensory Symphony grew out of a successful 2024 pilot project that saw the NAC’s first-ever accessibility-focused orchestral performance. Its goal is simple yet powerful: to create a space where people with disabilities, including children, teens, and adults, can enjoy music in a way that feels comfortable and inclusive.

“As soon as you come in, the atmosphere is so relaxed. There’s more interaction that you might not necessarily get in a symphony concert. There’s interaction with the instruments, there’s clapping, dancing.” 

Henry Kennedy, Resident Conductor

These concerts build on the work of the NAC Orchestra’s popular Music Circle program, developed in partnership with the Lotus Centre for Special Music Education, which engages children, teens, and adults with disabilities through music.

For many, attending concerts can be challenging—bright lights, crowds, and sudden loud sounds can create barriers. Relaxed performances remove these obstacles by offering a calm, flexible environment. Audience members are free to move, dance, or vocalize. Lighting and sound levels are adjusted to reduce sensory overload, and seating includes flexible options like floor mats. Fidget toys, earplugs, and noise-cancelling headphones are available.

Originally designed for individuals on the autism spectrum, relaxed performances now benefit people with anxiety, sensory sensitivities, and anyone who prefers a more informal concert experience.

“It’s really important that the audience engages with us, and we feel that we can engage with them,” Kennedy added. “By the end of it, people are on their feet.”

The NAC continues to prioritize making accessible programming a regular and integrated part of its artistic work. Initiatives like Sensory Symphony are an important step toward a future where everyone has the opportunity to connect with the arts and feel they belong at the NAC.

Over four decades, Blue Rodeo have released a deep catalog of albums that have become woven into the country’s musical fabric including 16 full-length studio albums, four live recordings, one greatest hits album, along with multiple solo albums, side projects, and collaborations. 

A national treasure

They’re often described as a national treasure, not just for their awards and chart success, but for their humility and work ethic, touring relentlessly, decades into their career. From countless sold-out nights at the National Arts Centre to massive national events, Blue Rodeo delivers an electrifying live performance every time.

Their impact is reflected in an impressive list of honours. Blue Rodeo have won numerous Juno Awards across categories such as Group of the Year, Album of the Year, and Songwriter of the Year. In 2013, the band was inducted into the Canadian Music Hall of Fame, and both Cuddy and Keelor have been appointed Officers of the Order of Canada for their cultural contributions. In 2014, the band received a Governor General’s Performing Arts Award (GGPAA) for Lifetime Artistic Achievement, Canada’s highest honour in the performing arts.

Your love letters

Blue Rodeo has served as the soundtrack to countless moments in the lives of Canadians. Whether at weddings or around campfires, they remind us of the power of connection through song.  Love Letters is a heartfelt compilation of memories that captures the impact Blue Rodeo’s music has had on so many over the decades. During their Canadian tour celebrating 40 years together, the band graced the National Arts Centre with two sold-out performances. The audience was invited to share their favourite Blue Rodeo stories for a special video project to commemorate this milestone and pay tribute to this national treasure.

For many children across the country, the NAC’s Arts Alive program is a special way to experience Indigenous culture. It is also a way to learn about the performing arts. 

For more than a decade, classical trumpet player Samantha Whelan Kotkas and Cree multi-instrumentalist Walter MacDonald White Bear have been active in the Arts Alive program in schools throughout Alberta. By combining their backgrounds, the two Arts Alive teaching artists use cross-cultural music workshops to raise awareness, foster dialogue and connect cultures. Samantha and Walter know they are making a difference in the lives of these children. 

As Alberta teacher Melody Taylor shares, “We now have bands and choirs, and community members are enthusiastically involved. Much of this is attributed to the annual visits from Walter and Sam, who bring music to us with such joy and enthusiasm.” 

This programming thrives thanks to generous donors across the country.  

As Lead Corporate Partner of Arts Alive, National Bank’s support makes it possible for passionate teaching artists to bring the performing arts to communities nationwide and connect directly with Indigenous youth. 

"Young people are Canada’s future, and that future must be inclusive," says Steve Berna, National Bank’s Managing Director of Indigenous Relations. “That’s why we think it’s crucial to provide Indigenous youth with access to the performing arts in their own schools and communities.” 

Last season, Inuit drummer David Serkoak led residencies at schools in Resolute Bay and Grise Fiord through the Arts Alive program. Community members attended student presentations, and David donated two handmade drums to each school.  

 During his third visit to Grise Fiord and second visit to Resolute Bay, David was pleased to see drumming continue under local Inuit teachers. One high-school student shared, “David inspired me to embrace my culture through storytelling and drumming.” 

These kinds of connections are priceless, made possible because generous donors and corporate leaders like National Bank believe in the power of sharing and honouring Indigenous cultures. Sean St. John is Executive Director of National Bank and a member of the NAC Foundation Board of Directors, acting as Lead Advisor and Advocate for Indigenous Programs. 

As a strong champion for Indigenous youth, Sean is proud of the work that National Bank and the NAC are achieving together. “All young people need to feel seen, heard and understood. Celebrating and sharing culture is a powerful way to create a safe and open environment.” 

Walter MacDonald White Bear couldn’t agree more. “When grade 9 boys hug you, that's a big statement,” he says. 

Thank you to National Bank and the generous donors who help us to create unforgettable performing arts memories for youth across the country! 

I was four years old when my mother took me to my older sister’s piano lessons. After a few weeks, the teacher told my mom to “leave the big one at home and bring the little one.” I became a piano player and my sister became Ottawa Mayor Jackie Holzman.  

Recently, I turned 88 and one could say the piano has been part of my life for 84 years. Oh yes, I always hoped to reach the age of the number of keys on a piano. Thankfully I succeeded. 

At a very young age I started attending concerts. We all know there is nothing as vital as experiencing a live performance, watching and letting the music touch us personally.  

Because I was able to sight-read early on, I was often asked to perform with singers and instrumentalists at the last minute, even with renowned Canadian contralto Maureen Forrester. Playing for soloists was a marvellous introduction to working with others. Seeing the ultimate accompanist Gerald Moore in concert with the renowned Dietrich Fischer-Dieskau when I was fourteen, was life-altering for me. It remains etched in my mind as the path I wanted to take musically and that dream eventually came true.

In the late 1960s when auditions were held for the new National Arts Centre Orchestra (NACO), I was the pianist. I subsequently played piano and harpsichord with the orchestra. But six weeks before NACO’s opening concert, Music Director Jean-Marie Beaudet asked me to help promote the orchestra as it was completely unknown.  

I reached out to some friends, who invited their own friends to a gathering with Director-General Hamilton Southam, and the National Arts Centre Orchestra Association was formed. This association became the booster organization for the NACO. We sold out the opening night and we are still thriving today under a new name, Friends of the NACO.  

I feel incredibly fortunate to live in such a vibrant cultural city and I take great joy in supporting our many arts organizations in whatever ways I can. Each one adds its own lustre to our community, from Chamberfest and OrKidstra to the Ottawa Choral Society, to name just a few. I also volunteer at seniors’ residences, hospices, long term care facilities— anywhere my music can bring comfort and joy.  

When I received the Arnie Vered Award for Voluntarism, it was a crowning treasure in a lifetime devoted to the arts. Both Arnie and I saw a way to make the world a better place through the arts and we did it with smiles and love. 

The greatest compliment we can receive is seeing young people sharing the NAC and other cultural institutions with us. They bring vision and creativity to the arts and help ensure a future for musicians, actors, dancers, writers and everyone else who delights audiences. 

There is no substitute for live expressions of the arts whether we are in the audience or on the stage. Each of you reading this knows how uplifted we feel merely walking into the National Arts Centre. And leaving after a performance reminds us how blessed we are to have the NAC in our lives. After close to 60 years, the NAC is still full of magic. 

Since 2022, Suzan has welcomed people of all backgrounds, abilities and ages to SoulRhythms, a free weekly class in the NAC’s Peter A. Herrndorf Place. As many as 100 people at a time, in one workshop, have joined Suzan to experience the magic and power of dance. Our NAC donor community helps ensure these classes remain open to all. 

“Everyone belongs here”

“Thanks to the support of donors, we can share dance with people of all ages, abilities and backgrounds,” Suzan reflects. “SoulRhythms is more than a class; it is a place where community, culture and joy come together, and everyone can find a home. Everyone belongs here.” 

One regular, Zena, 76, loves her weekly SoulRhythms sessions. From her very first class, she was hooked. “Suzan is the best,” she shares. “Her warmth, sense of humour, and huge personality makes everyone at ease. There’s so much laughter in every class.” 

Offering the classes at the NAC creates an inviting space for those who might feel hesitant or uncomfortable in a traditional dance studio. Without mirrors, everyone can truly relax.  “It increases the sense of connection,” Suzan says. “And Zena’s whole-hearted participation is a testament to the comfort, joy and love of community,” she adds. 

Dancing for mental health

Not surprisingly, many university students also attend Suzan’s classes. Several have shared that the classes are an important part of their mental health routine. The fact that they can come on a regular basis, and that it’s free, is their joy and their therapy.  

“Our bodies tend to freeze and cocoon when something happens to negatively impact our life,” Suzan explains. “Dance allows us to move stuck emotions through our bodies.” 

Kerry, a recent graduate, agrees that Suzan’s classes are healing, “She teaches you the basics, but then you have the freedom to move your body the way you want to. It’s a judgement free space, and through the classes and community, I've gained much more confidence.” 

SoulRhythms has also helped Kerry, who is of Caribbean descent, reconnect with his culture. He shares that while dance is central to his heritage, he had not truly had the chance to experience it until now. He loves how Suzan includes the stories behind the songs, dances and genres. 

Zena, too, appreciates all she’s learned about Afro-Caribbean culture. “It’s the highlight of my week,” she says. Both Zena and Kerry agree that they leave the Monday evening class feeling renewed. As Kerry shares, “No matter what, you are going to start your week with good energy.”

Your generosity supports free events and workshops at the NAC and bring music, theatre, and dance to life for your friends, neighbours, and fellow arts lovers. Thank you for creating a vibrant and connected community! 

Agnolotti with beurre blanc and sage 

Serves: 2-4 people  

Ingredients

For the pasta: 

225 g all-purpose flour 
5 g salt 
7 egg yolks 
45 ml beet juice 
10 ml milk 
10 ml olive oil

For the filling: 

100 g beet puree (see below) 
240 g hung ricotta cheese (drain excess liquid overnight)  
40 g grated Parmesan (or Grana Padano)  
15 g chopped fresh dill
Salt, pepper, lemon juice (to taste) 

Beurre blanc: 

500 g butter 
100 g chicken stock or vegetable stock 
15 ml fresh lemon juice 
Salt to taste 

For the sauce and garnishes: 

4 oz (half cup) beurre blanc (see below)
Poppy seeds, fresh dill, dill oil, fried sage (see notes) 
 

Step 1: Make the beet and ricotta filling 

Roast 2 beets at 350°F (180°C) with olive oil, salt, and pepper for about 2 hours. Peel once cooled. 

Puree the roasted beets with a little olive oil until smooth. 

Mix beet puree, hung ricotta, grated cheese, dill, salt, pepper, and lemon juice in a bowl. Refrigerate overnight for best flavor. 

Step 2: Prepare the pasta dough 

On a clean surface, make a mound of flour and salt. Make a well in the center. 

Add egg yolks, beet juice, milk, and olive oil into the well. 

Gradually mix the flour into the wet ingredients with a fork or your fingers until a rough dough forms. 

Knead the dough for about 10-15 minutes until smooth and elastic. 

Wrap in plastic wrap and chill in the fridge for at least 2 hours or overnight. 

Step 3: Roll and fill the agnolotti 

Roll out the dough very thin with a pasta machine or rolling pin to 1/16th inch or the thinnest setting on the pasta rolling machine. 

Cut into squares (~2-3 inches). 

Place a small spoonful of filling in the center of each square. 

Fold over to make a triangle or rectangle, pressing edges to seal tightly. 

Step 4: Cook the agnolotti 

Bring a large pot of salted water to a boil. 

Cook the agnolotti for about 5 minutes, until they float and are tender. 

Use a slotted spoon to transfer them to a warm plate. 

Step 5: Make the beurre blanc 

5:1 butter to water ratio. 

Gently warm ¾ of the butter with a splash of water until melted (don’t boil). 

Add the remaining cold butter and blend with an immersion blender until emulsified. 

Season with lemon juice and a pinch of salt. 

Keep warm but don’t let it boil. 

Step 6: Finish and serve 

Heat the beurre blanc gently. 

Toss the cooked agnolotti in the beurre blanc. 

Plate the agnolotti and drizzle with beurre blanc. 

Garnish with poppy seeds, fresh dill, dill oil, and crispy fried sage (see notes). 

Tips from the Chef 

Fried sage: Deep fry sage leaves in hot oil until crispy; sprinkle with salt. 

Dill oil: Blend fresh dill with a little oil, strain. 

Poppy seeds and sage: Use for garnishing to add texture and flavor. 

Vegetarian option: Use vegetable stock for the beurre blanc. 
 

More recipes, cooking demos and interviews

If you enjoyed making this recipe, check out our Resident Chefs video series with interviews, recipes, and cooking demos with some of Canada’s best chefs! 

The appointment follows a global executive search that began in the spring of 2025. The Board of Trustees of the NAC ultimately identified Annabelle Cloutier as an outstanding candidate who is uniquely qualified to steward the National Arts Centre and act as a champion of Canadian artists and the performing arts sector.

“Annabelle is the kind of arts leader Canada needs for these times, bringing vision, energy and imagination to one of Canada’s most cherished cultural institutions,” said Guy Pratte, Chair of the Board of Trustees, who led the selection committee. “Her deep commitment to developing the performing arts across the country, her distinguished career in public service and the arts, her extraordinary gift of motivating those around her, and her exceptional ability to communicate the essential value of the arts to our society, make her the ideal person to guide the National Arts Centre at this critical moment for our country. Our Board of Trustees enthusiastically looks forward to working with her in this new role.”

A Milestone Appointment

As the first Francophone woman in the history of the National Arts Centre to serve as President and CEO, Annabelle Cloutier represents a new generation of leadership. She brings 25 years of national experience to the role of NAC President and CEO, serving at the highest levels of the public and cultural sectors, at the intersection of the arts, public affairs, governance, diplomacy, strategic planning and communications.

“It is with great humility and enthusiasm that I take on the role of President and CEO of the National Arts Centre, and I thank the Board of Trustees for entrusting me with this responsibility,” said Annabelle Cloutier. “I believe deeply in the fundamental role of the arts in our society, in the voices of creators and artists to awaken in us a sense of pride and belonging to our Canadian cultures and perspective. My immediate priority will be to engage with artists and arts leaders from across the country, to connect actively with our national audiences, and to collaborate with and support our wonderful NAC team. Together, we will ensure that the performing arts remain a vibrant and relevant cornerstone of our Canadian identity, as they should be.”

“The appointment of Annabelle Cloutier as President and CEO of the National Arts Centre is wonderful news for the performing arts in Canada,” said Christopher Deacon, former NAC President and CEO. “Annabelle lives and breathes the arts of the stage. She is highly respected for her leadership within the NAC and in the Canadian arts and culture sector. I am delighted that the NAC will be in such expert hands as she leads the institution forward into its next chapter.”

A Trusted Leader

Cloutier joined the NAC in 2018 as Executive Director of Strategy and Communications, and Corporate Secretary to the Board of Trustees. Her dual role at the executive and governance levels has positioned her at the heart of decision-making within the institution. She has since become a trusted leader and key member of the senior management team, working closely with former President and CEO Christopher Deacon, and playing a central role in managing the NAC’s most complex institutional files.

She has led and delivered high-impact, transformative strategies that have shaped the NAC’s trajectory — including the NAC’s 50th anniversary celebrations, the NAC Orchestra’s European Tour, and the historic launch of the Indigenous Theatre, all in 2019. She was a central figure behind the NAC’s vision to lead and support the renewal of the Canadian performing arts in response to the pandemic’s devastating effects on the sector and a changing cultural landscape.

About Annabelle Cloutier

Originally from Richmond, Quebec, Cloutier holds an LL.B., completed graduate studies in communications, and earned an Executive Certificate in Public Leadership from Harvard Kennedy School. Before joining the NAC, she served as Director of Communications and Public Affairs in the Office of the Secretary to the Governor General and previously held senior roles at the Fédération culturelle canadienne-française (FCCF) and the Alliance des producteurs francophones du Canada (APFC).

She is currently a member of the Ottawa Art Gallery’s Board of Directors and its Governance Committee. Cloutier is married to diplomat Sébastien Carrière and is the proud mother of two grown children.

Because of you, young people like Murad are discovering the magic of live performance. He says that because of Under30 tickets, “I’m going to shows I normally wouldn’t go to.” Ever since his first visit, Murad has been asking himself “What’s next?” This simple question opened a whole world of possibilities for him.

A university student in Ottawa, Murad has always loved movies. But the NAC’s Under30 ticket program introduced him to something he hadn’t experienced before: orchestral music for film. Since then, he’s seen the NAC Orchestra perform Schindler’s List, Murdoch Mysteries, and one of his favourites, Jurassic Park in Concert.

Watching Jurassic Park with a live orchestra, Murad said, gave him “a fresh appreciation for film soundtracks and the artistry that brings these stories to life.” Surrounded by other young audience members, he left the hall inspired, energized, and eager to explore more.

Thanks to your generosity, Murad isn’t the only young person asking “What’s next?”

Sébastien, a young actor and student, shares: “Through the NAC’s Under30 ticket program, I’ve been able to attend performances I otherwise couldn’t afford. And because tickets are so accessible, I can bring friends and share that experience with them too.”

The Under30 program makes it possible for young people to experience the thrill of the performing arts for just $15 a ticket. For many, seeing a performance can feel out of reach. But because of donors like you, the NAC is opening doors for a whole new generation of arts lovers.

As Murad shares, “I love the immersion—no phones, no distractions. You’ve got two and a half hours of complete escape and darkness, and you’re transfixed by the performance on stage.”

Last year alone, 33,000 Under30 tickets were sold. That’s 33,000 moments of discovery and inspiration — made possible by donor support. The possibilities are endless, and young people like Murad are ready to explore them all. Thank you for your generosity and for opening the doors to the performing arts for so many on GivingTuesday.

2par2 by Ebnflōh

With 2par2, choreographer Alexandra “Spicey” Landé continues to push the boundaries of street dance. Featuring 10 performers, the creation explores the dynamics of pairs by interrogating the emotional and psychological dynamics that shape how we interact with each other.

“The support of the National Creation Fund marks a real turning point in my career. It gives me a valuable opportunity to take time: time to listen to the performers, to deepen my research, to let ideas breathe. It’s a rare chance to create in conditions that encourage depth and precision.”
– Alexandra “Spicey” Landé, choreographer

Our $200,000 investment offers the company substantial studio time to further their choreographic language, artistic direction, and movement dramaturgy. The studio sessions will be supplemented by international technical residencies, during which the company will experiment with staging, sound, and visual elements in real stage conditions. 

Remember that time we met in the future? by Lara Kramer

Produced by CCOV, Remember that time we met in the future? invites audiences into a present stretched by memory, a space of becoming, of heartbeats carried forward. Each movement becomes a trace of ancestral memory and a gesture toward futures unfolding, a pulse shared between beings and worlds. 

“Storytelling, for us, happens through the body’s physical expressions, through stillness and silence, and through the nuanced process of action. This methodology creates a powerful conduit for sharing self, vulnerability, and live experience, allowing the distinct narratives from four different nations to organically contribute to the tapestry of the piece through the performers’ deeply rooted presence.” 
– Lara Kramer, choreographer

Our investment of $70,000 enables Lara to gather an extraordinary cast of Indigenous dancers from across the country for an extended development workshop in Montréal. We are also supporting a two-week technical residency in Vancouver, followed by an additional post-premiere workshop to refine the performance. Finally, our investment will contribute towards the development of an audio description script.  

For many, it’s their very first time in a concert hall or theatre — an experience that can spark a lifelong love of the arts.   

But did you know that this program is only possible thanks to donations from fans like you who are passionate about live performance? Here’s why your support matters — and how you can double your impact for young audiences on GivingTuesday (December 2).  
 

Why support the Under30 program?

For many young people, seeing live performances can feel financially out of reach. But the accessibly-priced Under30 tickets open them up to a world of opportunity. It’s one of many NAC community programs designed to meaningfully engage young people in the performing arts. 

Community support is critical to the success of this program, as donations allow us to reduce the ticket prices.

Sébastien, 18, is an aspiring performer who has already graced the NAC stage as Tiny Tim in a production of A Christmas Carol at 10 years old. He credits the Under30 tickets not only with deepening his love for his craft, but also with helping him share meaningful experiences with his friends at the NAC. He says:  

“When you make tickets more affordable, you’re opening doors to the arts. You’re helping young people like me fall in love with theatre, music, and dance.”

Last season, donors made a big impact for young audiences through Under30

• Almost half of Under30 audience members were brand new to the NAC 
• 33,000 Under30 tickets were sold — that’s 33,000 experiences for young audiences made possible by donor support
• Most of the ticket purchases were for NAC Orchestra performances, introducing a new generation to classical music
   

GivingTuesday is your chance to double your impact for young audiences   

On GivingTuesday (December 2), your donation will go twice as far to help young people experience the magic of the performing arts. Thanks to our friends at the Turnbull Family Community Building Foundation, donations on GivingTuesday will be matched up to $10,000 — doubling your impact!  

Let’s keep the momentum going! Mark your calendar to support Under30 this GivingTuesday. If you’re signed up for NAC Monthly Highlights emails, you’ll receive reminders in your inbox, and you can also give online via the NAC Donors’ Circle.  

If you have any questions about giving to support the arts at the NAC, visit the Donors’ Circle webpage, or contact the team at donorscircle@nac-cna.ca.  

Christopher’s journey through dance is nothing short of remarkable. From his celebrated years as a Principal Dancer with the San Francisco Ballet to his influential leadership roles at Oregon Ballet Theatre and the National Ballet of Canada, he has spent decades shaping the art form across North America and beyond. His work as a choreographer and artistic leader reflects a deep passion for both classical traditions and contemporary innovation, bringing fresh perspectives to every stage he touches.

In this video Christopher shares insights into his artistic vision for the RWB and the creative path that has defined his career.

Shawn and Michael live just a short walk from the National Arts Centre and the NAC has become a constant in their lives. “It’s been an integral part of our relationship,” says Shawn. Their first subscription was to the Pops series—driven by a chance to see Bernadette Peters—and since then, they’ve rarely missed a season. They’ve been subscribers for 25 years, always adding a donation along with their tickets.   

“We’re really enthusiastic about supporting youth,” Michael shares, “And encouraging young people’s participation in music, dance, and opera.”  

So, when it came time to update their Wills after their retirement, the NAC felt like a natural choice for a bequest. “We wanted to think of something meaningful to ourselves as well as others,” says Shawn. “The NAC was a good fit. We believe we can make a difference.”  

Shawn and Michael decided to leave a gift in their Wills to support youth music programming across the country, through scholarships and opportunities. Their bequest is thoughtfully designated to help young artists thrive, now and in the future. For them, it’s not just about supporting the arts—it’s about supporting their community and ensuring sustainability.  

“We’ve been fortunate, and we feel that we can pass that along.”   

The process of making their legacy gifts was simple. “Our lawyer said it was very common and easy to set up a charitable bequest,” says Michael. “We reached out to the NAC to get the right wording, and that was it.”  

They also made a point of sharing their decision with their family. “We felt it was important that everyone understood our intentions,” says Shawn, “So that there will be no surprises down the road. We’ve looked after the people in our lives, and now we can make choices about giving back.”  

While they continue to support healthcare and other community causes, they believe that arts and culture deserve their attention. “We’re not overwhelmed with requests to support the arts,” Shawn notes. “But they matter a great deal. We can make a bigger impact.” 

Michael agrees. “Music contributes towards people’s health—especially mental health. It brings joy. That’s what this gift is really about.”  

Their hope in sharing their story is simple: that it might encourage others to consider a gift of any size to the NAC. “Big or small, everything can make a difference,” Michael says.  

“It’s our way of giving back,” Shawn adds. “And we’re happy with the decision. It feels right.”  

As we have had chefs from every province in Canada, there is a surprise twist this season: we have invited Peter Hum, a distinguished restaurant critic, as a guest chef. Drawing from his cultural heritage and personal journey, he will present a deeply personal menu that translates narrative into flavour—inviting diners into an intimate and original culinary experience. To kick off his new menu and residency at 1 Elgin there will be a grand culinary event on January 29, 2026.

In March, we welcome Chef Steph Baryluk, a proud Teetl’it Gwich’in from Teetl’it Zheh (Fort McPherson) in Treaty 11 Territory, is a chef and advocate dedicated to preserving Indigenous culinary traditions. With over a decade in the industry, she blends her Arctic roots with a passion for education and sustainability. She kicks off her new menu and residency at 1 Elgin with the Ladies Who Lunch event on March 6, 2026.

In June, we welcome a Top 4 finalist from Top Chef Canada Season 10, Chef Chris Irving. He has worked with leading brands like Marriott and Four Seasons, all while championing sustainability and culinary innovation. Chef Chris will also be kicking off the first weekend of Chef’s Table in June 2026.

Our fourth and final resident chef, Ginger Auger, is coming in from Fort McMurray for her own Chef’s Table weekend series in September 2026. Chef Auger Ginger is a Métis/Cree iskwew and CEO Founder of Ginger’s Bannock House; an Indigenous catering company located in Fort McMurray. She specializes in Indigenous infusion food and story. Her menu will be available in the restaurant until early November 2026.

Come out and try every one of their menus, taste their ideas, indulge in their creativity, and learn about what inspires them along the way. Join us at the NAC’s 1 Elgin restaurant for an ever-changing and always exciting culinary adventure of Canada’s most talented and creative chefs.

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Our investment of $150,000 supported an extended development residency at the Banff Centre in Fall 2025, as well as additional time in Toronto’s Bluma Appel Theatre before the premiere at TO Live in December. All together, these extended development residencies will serve to deepen Aszure and Ambrose’s collaboration, and support the reignition of Aszure’s company, Aszure Barton & Artists | AB&A.

The Canadian performance community has really shown up at the Fund this fall, and we’ve had our busiest start to the season ever, full of exceptional proposals and projects. Huge thanks to all who entrust us with your dreams! We are so honoured to be in relationship with you. We have lots more investments to announce, so stand by for more good news very soon. In the meantime, there are great new creations on stages across the country. Let’s go see them!

Algonquin Anishinaabe tea maker Kayoki Post-Whiteduck has crafted a unique Kayo-Tea blend, with each herb chosen to represent one of the six productions in the season. 

Raised in Kitigan Zibi, Quebec, Kayoki began blending teas nearly a decade ago. What started with a small patch of mint in his mother’s garden has grown into Kayo-Tea and Mitigomin Agriculture, his farm and tea business in the Gatineau Hills. He still harvests and dries his herbs by hand, drawing on his training in horticulture, herbalism, and tea sommelier studies. His farm, Mitigomin Agriculture, takes its name from the Algonquin word for acorn and reflects his commitment to cultivating herbs and native species in ways that value health, tradition, and the environment. 

Using dramaturgical notes and scripts as his guide, Kayoki approached each production much like a sommelier pairing wine, searching for herbs that captured the themes and emotions of each piece. The finished blend, he says, offers flavour notes that are “sweet, slightly bitter, and earthy, with a gentle mint aftertaste.”

Which show is your cup of tea?

The season opened with Nigamon/Tunai, which invites audiences into a world of song and land. To reflect it, Kayoki chose Labrador tea. “It speaks to the voices of rock, water, and trees,” he explained, noting that the plant thrives “where the water meets the trees” in spruce bogs. 

Tupqan | Nos territoires intérieurs follows a journey shaped by memory and vision. For this production, Kayoki selected sweet gale, inspired by the story’s stolen wampum belt that appears to the protagonist in a dream. Sweet gale is traditionally associated with sleep and lucid dreaming. “People have used it to help with sleep, and even to control what happens in their dreams,” he said. 

For Rinse, a dance-theatre work examining colonial history, Kayoki turned to sweet fern. “After the Boston Tea Party, sweet fern became a popular tea,” he said, adding that it also connects to his Algonquin heritage, since Indigenous peoples have brewed it for generations. With its layered history, the herb felt like a natural choice for a story about colonial legacies. 

Tomson Highway’s musical Rose celebrates resilience and the bonds that hold communities together. For this work, Kayoki once again chose sweet fern, but this time for its ecological role. The plant “appears in really poor soils” and replenishes nitrogen, making the ground fertile for other plants to thrive. “It creates a community of plants,” he explained, a fitting symbol for the story’s theme of community. 

Th’owxiya: The Hungry Feast Dish shares a Coast Salish tale about a mouse stealing food from a supernatural being. Kayoki paired it with apple mint, appreciating its connection to food and nourishment. The story also brought to mind the biblical tale of Adam and Eve, “where an apple was taken from the tree.” 

The season concludes with Te Tangi a Te Tūī, performed in te reo Māori and confronting the impacts of colonization. Kayoki chose stinging nettle. “It’s kind of a colonial herb,” he explained. Originally from Europe, nettle has spread widely across Canada. He first encountered it while tree planting, when he “would get stung by it every day.” Later, as he studied herbalism, he discovered “all its medicinal benefits” and began using it in his blends. For him, nettle represents both the harm and resilience intertwined with colonial history. 

“When people taste these herbs while watching the performances, they’re connecting with the stories through another sense,” he said. “It’s about completing that circle of connection to the land, to the stories, and to each other.”

You can also follow Kayoki and Kayo-Tea on Facebook, Instagram, or through his website.

The event brought together artists, local vendors, and audiences, while strengthening partnerships with organizations like Aroha Fine Arts and NetIP, and welcoming new collaborations with Huns Radio and the Ottawa Public Library. 

As we celebrate Diwali, it feels fitting to share this video recap capturing the energy, partnerships, and joy that made the afternoon so meaningful, a reflection of how the NAC continues to build lasting, reciprocal relationships across communities. 

A heartfelt thank you to every artist, partner, and community member who made Desi Dhamaka possible. 

Optional, but recommended: Turn up some music and dance—just try not to miss a recipe step!
 

Tomato salad recipe

A bright, chef-inspired tomato salad made easy for home cooks. Just follow these straightforward instructions.

What you’ll make:

• A tomato salad with a light herby ranch style dressing 
• Parsley oil (optional, for drizzle) 
• Quick pickling liquid to pickle a few crunchy toppings like garlic scapes, green beans, asparagus, etc.
   

Ingredients

For the tomato salad:
1-pint cherry tomatoes (or about 2 cups)
2–3 tablespoons extra virgin olive oil (EVOO)
1–2 teaspoons balsamic vinegar (optional for a touch of sweetness)
Salt and freshly ground pepper
Fresh parsley (for parsley oil, optional)
Pickled or fresh garnishes: pickles, garlic scapes, beans, asparagus, etc.
Fresh herbs for finish: basil or tarragon (optional), dill flowers or fine dill fronds (optional)
Toasted breadcrumbs or croutons (optional)
A few edible flowers (optional)

For the ranch-style dressing (make ahead):
1 cup mayonnaise
1 cup cream cheese, softened
1 cup buttermilk
1–2 cloves garlic, minced
1–2 teaspoons cider vinegar
1/2 teaspoon salt (adjust to taste)
1/4 teaspoon black pepper
1–2 teaspoons sugar (optional, to balance acidity)
1–2 dashes hot sauce (like Tabasco), to taste
1 tablespoon chopped dill
1 tablespoon chopped chives

For the parsley oil (optional):
1 cup fresh parsley
2–3 cups neutral oil (like canola or light olive oil)

For the quick pickling liquid (optional; best done a day ahead for maximum flavour):
4 cups white vinegar
3 cups water
1/4 cup salt
1/2 cup sugar
Star anise (1–2)
Bay leaf (1)
Black peppercorns (1–2 teaspoons)
Red pepper flakes (to taste)
 

Instructions

Rinse the cherry tomatoes. Pat dry. In a bowl, drizzle with 2–3 tablespoons EVOO and a teaspoon or two of balsamic if you like. Lightly season with salt and pepper. Toss to coat.

Ranch-style dressing (make ahead)
In a blender, combine garlic, cider vinegar, salt, pepper, sugar, hot sauce, dill, and chives. Blend until smooth. Add cream cheese and blend again until creamy. 

Transfer to a bowl and fold in mayo and buttermilk until smooth. Refrigerate until ready to use. 

Simple parsley oil (optional): Blend parsley with oil until very smooth. Strain through a fine sieve or cheesecloth. Chill. Use a drizzle on serving plates. 

Quick pickling liquid (optional)
In a pot, combine vinegar, water, salt, sugar, star anise, bay leaf, peppercorns, and chili flakes. Bring to a boil, then simmer 1–2 minutes. Remove from heat and cool. 

Use to submerge small items like garlic scapes, beans, or asparagus. Refrigerate. 
 

Assemble

1. On each plate, lightly brush or dab a thin line of ranch dressing on the bottom (you can skip if you prefer).
2. Place the dressed tomatoes on top.
3. Garnish with pickles or your chosen crunchy veg.
4. Finish with herbs (basil, tarragon, dill), edible flowers if using, and a sprinkle of toasted breadcrumbs if you like crunch.
5. Drizzle a little parsley oil over the top for color and aroma (optional). 
    

Tips from the chef

• Keep dressing and parsley oil chilled until serving. 
• Taste the dressing before serving and adjust salt, pepper, or acidity as needed. 
• If you don’t want to make the parsley oil, simply use a splash of extra virgin olive oil on the tomatoes.

If you enjoyed making this recipe, check out our Resident Chefs video series with interviews, recipes, and cooking demos with some of Canada's best chefs!

Here are messages to you, our donors, from a few of our Artistic Directors to celebrate the season ahead.

Thank you for saying yes to the magic of Canadian theatre artists

From Nina Lee Aquino, Artistic Director, English Theatre: 

“I’ve come to understand that vision isn’t what you see when your eyes are wide open—it’s what you see when your eyes are closed. English Theatre stands for theatre that Entertains and Transforms—the ‘E’ and the ‘T’ of NAC ET. And those are things we don’t always recognize in the moment. They aren’t just visual or obvious. They live in the imagination, in the heart, in the mind’s eye—often in the quietest of moments. 

“That’s why donor support matters so deeply: it turns that quiet, imaginative vision into lived, shared experience. Donors become part of the circle—part of the fuel, the scaffolding, the support—that allows Canadian theatre artists to do their work. They help weave the stories that ignite the laughter, the tears, the wonder we feel in the theatre. And just as vitally, our donors help carry the transformation that unfolds long after the curtain falls. 

“In supporting English Theatre, donors are saying yes to the magic of Canadian artists, yes to imagination as a tool for empathy, and yes to theatre as a necessary part of our cultural life.”

Three words Nina would use to describe English Theatre’s 2025-2026 season? 
Whimsical. Daring. Possible.
 

Thank you for celebrating Indigenous cultures and languages with us

From Kevin Loring, Artistic Director, Indigenous Theatre: 

“Kwookstayup! A huge thank you for supporting Indigenous Theatre at the NAC. Your gift helps us to come together to celebrate Indigenous art and artists. You make it possible for us to bring our communities together in celebration of Indigenous cultures and languages and to support the transformational work of the brilliant Indigenous artists we have the honour of sharing with you.”

Three words Kevin would use to describe Indigenous Theatre’s 2025-2026 season? 
Fearless. Rooted. Resurgent.
 

Thank you for courageously championing creation

From Caroline Ohrt, Executive Producer, NAC Dance: 

“If I had the entire donor community in front of me, I’d give you a heartfelt bow of thanks. Your support not only gives artists wings and the means to achieve their ambitions, but also testifies to a real commitment that, for me, inspires courage, strength and energy. 

“Donors are invaluable and indispensable ambassadors who, with me and the artists, champion contemporary creation. It’s enormous. And it’s courageous.”

Three words Caroline would use to describe NAC Dance’s 2025-2026 season? 
Energy. Ambition. Strength.
 

Thank you for enthusiastically embracing French theatre

From Mani Soleymanlou, Artistic Director, French Theatre:

“By supporting French Theatre, you are ensuring the vitality of the only national French-language theatre in North America. Your contribution provides essential support for a culture, a language, and a spirit that French Theatre is committed to preserving and sharing.”

Three words Mani would use to describe French Theatre’s 2025-2026 season? 
Big. Beautiful. Theatre.
 

Thank you for enriching Canada’s cultural life

From Alexander Shelley, Music Director, NAC Orchestra:

“The generous support of our donors allows us to bring extraordinary artists and productions to our stages, whether it’s a world-class line-up of soloists or the phenomenal and diverse musical adventures that range from Tosca at the opening of the season to Mahler’s Second Symphony near the close. It also allows us to commission and champion new creations by Canadian composers. 

“On behalf of our musicians and our audiences, I thank our donors for enriching the cultural life of the nation and its capital.”

Three words Alexander would use to describe the NAC Orchestra’s 2025-2026 season? 
Star-studded. Kaleidoscopic. Passionate.

A special ceremony in the foyer of Southam Hall unveiled a new bronze plaque recognizing the remarkable contributions of the Friends. For more than five decades, this volunteer-driven organization has been a cornerstone of support for the NAC Orchestra, championing music education, nurturing young talent, and creating opportunities for our community to experience the joy of live orchestral music. 

The Overture: 1969 

FNACO’s founding president, Evelyn Greenberg, was a driving force in the NAC Orchestra’s earliest days. A gifted pianist and dedicated community builder, she and a circle of volunteers worked tirelessly in 1969 to promote the brand-new orchestra and build its first audiences. Greenberg’s leadership ensured that the Orchestra was welcomed not only as a resident ensemble of the National Arts Centre, but as a cultural treasure for the city of Ottawa. 

Greenberg herself attended the plaque unveiling, a living link to the very first chapter of NACO’s history.  

“Here we are today, still proudly the best friends with this orchestra. We had to fill the hall, or they would think we shouldn’t be supported… and yes, the opening was a sellout!” — Evelyn Greenberg 

Evelyn Greenberg’s connection to the NAC Orchestra runs even deeper than her role as the founding president of FNACO. Greenberg accompanied the auditions for the NAC Orchestra’s very first musicians in 1969, at the request of Jean-Marie Beaudet, the NAC’s first music director. She was behind the piano as candidates played for founding conductor Mario Bernardi. In other words, Greenberg not only helped promote the Orchestra in the community—she helped shape its earliest sound. 

“We really worked hard. It was fun and it was all so new. I was able to see how well picked this orchestra was, that Mario Bernardi had chosen so beautifully.”—Evelyn Greenberg, interview with ARTSFILE.ca in 2019. 

Giving More Than Applause 

Over the decades, FNACO has raised funds through community events—from embassy chamber concerts to garden parties hosted by Ottawa’s diplomatic community. Proceeds have supported initiatives that remain vital to this day: 

• The NAC Orchestra Bursary Competition, which has helped launch the careers of countless young musicians from the Ottawa-Gatineau region. 
• Mentorship programs and young artist initiatives, providing training and stage experience for emerging performers. 
• Music education in schools and community outreach, connecting the Orchestra with future generations of listeners. 

Many of the young artists supported by FNACO have gone on to study at leading universities—and some have even returned home as members of the NAC Orchestra itself. 

“Through continued fundraising, we contribute to the Mentorship Program, in which we are great believers, and two awards in the NAC Orchestra Bursary Competition… We support the music schools at our local universities… All which we hope will bring new additions to our beloved Orchestra.” —Christine McLaughlin 

Looking Ahead 

Speaking at the unveiling, Nelson McDougall, Managing Director of the NAC Orchestra, emphasized FNACO’s enduring importance. 

“Since the founding of the NAC and NAC Orchestra in 1969, the Friends have been a vital part of our Orchestra’s history. Your dedication, generosity, and countless hours of volunteer service have helped our orchestra share its passion more widely with our community. This plaque is a modest but lasting symbol of our deep gratitude.” — Nelson McDougall 

Under the leadership of Christine McLaughlin, president since 2019, FNACO continues to embody its founding spirit of volunteerism and generosity.  

“In the early days, we were the ushers, the subscription sellers, the planners of Saturday morning music lectures, the persuaders of friends to join us… We hosted visiting soloists and conductors in our own homes. We celebrated musicians’ birthdays and the births of babies. We arranged the Gala evening and silent auctions. We raised funds to buy instruments. And we contributed $20,000 to the Orchestra’s first trip to Japan in 1985… that was a lot of money in those days! All this through volunteers only.” — Christine McLaughlin 

As the NAC Orchestra celebrates its 56th anniversary, this bronze plaque in Southam Hall now serves as a permanent reminder that the Friends of the NAC Orchestra have always been—and will continue to be—part of the family.

Since September 2021, Mani Soleymanlou has treated our audiences to powerful, daring, and resolutely contemporary productions every season, showcasing artists and companies who are making an impact on the Francophone theatre scene across the country. His work at the NAC demonstrates his commitment to supporting artistic diversity, taking risks, and reaching out to audiences in Ottawa–Gatineau and across Canada.
 

“In my four years at the helm of NAC French Theatre, I’ve come to understand that theatre is the hand that holds the two edges of the social fabric together before it tears any farther. I plan to devote the next few years to continuing to hold it together, and even expanding it, so that everyone can find their place there. Because today more than ever, that fabric needs love, and we need this space where we can meet each other, talk to each other, and dream. More than ever, we need to reach out, open our arms, open our hearts. More than ever, we need to embrace doubt, conquer fear, reject silence, act freely, speak out fiercely, stand proudly together. And so the next five years will see a renewed commitment to the collective.”

Mani Soleymanlou, Artistic Director, NAC French Theatre

 
The 2022–23 season, the first season programmed by Mr. Soleymanlou, opened with the cycle of identity Un. Deux. Trois., a large-scale project which he directed. Featuring 36 Francophone artists from across the country, the show toured nationally to great acclaim.

Subsequent seasons were marked by a series of memorable productions, including Robert Lepage’s Le Projet Riopelle, which played to sold-out houses, and La traversée du siècle, a 13-hour theatre marathon based on the works of Michel Tremblay. French Theatre also welcomed such compelling voices as Mélanie Demers with Cabaret Noir and Michel Tremblay with his latest play, Cher Tchekhov.

Besides being extremely popular with audiences, French Theatre co-productions such as Là où la poussière se depose, by Outaouais duo Julien Morissette and Karina Pawlikowski; De glace, by Chelsea-based theatre company L’eau du bain; Classique(s), by Fanny Britt and Mani Soleymanlou; and Au cœur de la rose (Généalogie d’une tristesse), directed by Jérémie Niel, got rave reviews, confirming the significant impact of the NAC’s investment in creation.
 

“Since his appointment in 2021, artistic director Mani Soleymanlou has breathed remarkable new vigour into NAC French Theatre. His programming reflects a national vision for French-language theatre, involving writers and performers from across Canada and from a wide range of backgrounds. We’re delighted to see audiences responding so enthusiastically to this committed vision, and we’re proud to support Mani and his team in this forward-looking artistic adventure.”

Christopher Deacon, NAC President and CEO

 
Innovative outreach initiatives such as the Mani reçoit… (Mani in converstion with…) sessions have helped to bring French Theatre and its audiences closer, and encouraged collective reflection.

Building on this renewal, the 2025–26 season promises to be just as rewarding as previous seasons. It has been curated in collaboration with Amélie Bergeron, recently appointed Associate Artistic Director in charge of theatre for young audiences.
 

Creating professional opportunities for Francophone theatre artists

During his first term, Mr. Soleymanlou launched Le Collectif, an annual program offering recent theatre graduates the opportunity to perform in a new professional production. In partnership with Montréal’s Théâtre du Rideau Vert, French Theatre produced L’ombre, a new play by Marie Brassard, with a cast of nine young actor-creators; and Faire le bien, a new play by François Archambault and Gabrielle Chapdelaine. Directed by Claude Poissant and featuring eight young performers alongside actress Eve Landry, the production will tour in the fall of 2025. This commitment to the next generation of creators and actors helps to ensure the vitality of French-language theatre.

At Mr. Soleymanlou’s initiative, French Theatre hosted two artists in residence. Over two seasons, Catherine Vidal worked with a team of performers and designers on a new production of Chekhov’s La mouette (The Seagull), and Marie-Ève Fontaine spent a year exploring the creative stages of her project, Giant Mine.

Mani Soleymanlou also revived the Laboratoires du Théâtre français (French Theatre Labs), the master classes initiated in 2002 by then artistic director Denis Marleau. In May 2025, Jasmine Catudal directed the week-long creative laboratory Regarder autrement : théâtres des possibles (Looking at things differently: Theatres of possibilities), which brought together nine young artists to explore and challenge the fundamentals of artistic expression through a discussion of the practical realities of creation.

The first year set the foundation under the leadership of Paula Chinkiwsky, who guided the work of the Fire Starters. Artists created digital pieces that lit the first sparks of conversation, each responding in their own way to the question of what reconciliation means to them. That inaugural phase created momentum for Papakanje, the culminating performance that brought together artists from the Fire Starters series in a shared live event. 

In the second year, the project grew into Fire Carriers, led by Anishinaabe artist Josh Languedoc. This phase paired established Indigenous artists with younger collaborators, creating opportunities for mentorship and cross-generational exchange. The resulting works reflected on history and identity while also looking toward Indigenous futures, showing how reconciliation can be imagined through collaboration and the voices of emerging generations.
 

Visits of joy and mischief 

Now, in its third year, #ReconcileThis turns to the theme of joy and mischief. Led by Red River Michif and Jewish theatre artist Philip Geller, the new phase is titled Braiding Generations: Visits of Joy and Mischief. Inspired by Trickster teachings, Geller has framed this season around the laughter, teasing, and playful resilience that connect communities across generations. 

“I have always been drawn to the great Trickster stories told to me throughout my life,” they explain. “I am fascinated by the wise-fool, the sacred and profane in the same breath, the poop and profound, the contrary, and the stories that dance between the shadow and the light. Those stories and teachings are at the core of my artistic practice and appear in all my work, including this project.” 

What’s coming next

Starting this October, new #ReconcileThis works will appear weekly on the NAC’s Facebook and Instagram pages. The project begins with the Fire Tenders, artists from across the country who recorded conversations with family, Elders, and kin.

Christine Genier reflected on what it means to be an “inherited artist,” saying, “we inherited joy, and mischief.” Natalie Sappier spoke of young relatives as “explorers in the world” whose confidence is “medicine.” Moe Clark spoke with Kookum Charlotte Nolin and Kookum Barbara Bruce, who recalled growing up with 11 siblings where “working together and laughing together and throwing food at each other, we were hilarious,” and how teasing remains vital in Two-Spirit community. Mariel Belanger shared stories of harvesting reeds and how artists adapt performance practice to stay connected to the land. Jaeli Bruno’s video chat with her sister balanced prank-filled sibling energy with rare moments of honesty. And Issa Kixen spoke with their mother, who remembered summers by the water, “swimming, running about the park, flying in the sky on the swings.” 

Together these visits carry stories of play, ceremony, humour, grief, and resilience. They are the kindling at the heart of Braiding Generations: Visits of Joy and Mischief. Indigenous video artists will bring these conversations into new visual worlds. Tyson Houseman draws from live video performance and Cree teachings, Claire Brascoupé brings illustration and Algonquin storytelling into her designs, and Alan Syliboy carries forward the visual language of Mi’kmaq petroglyphs.

Later in the season, the Fire Tenders will return with their own responses. These works will take shape through dance, theatre, music, film, and spoken word, extending the themes of their original visits and completing the cycle of Braiding Generations: Visits of Joy and Mischief.

For Geller, centering joy and mischief is itself an act of strength:

“For this phase of #ReconcileThis, I wanted to focus on aspects of survivance, survival plus resistance, that spoke to Indigenous strength which, to me, lives in the laugh lines of aunties and the dimples of uncles. That was at the heart of the decision to celebrate joy and mischief.”

Learn more at nac-cna.ca/reconcilethis.

Before leading Sibelius’s luminous Second Symphony, Alexander dedicated his interpretation to John and to the Orchestra, offering warm congratulations and best wishes for the next chapter they will write together.

Watch the video above to hear Alexander’s dedication.

Opera, after all, is about collaboration on a grand scale. This season’s opening production of Tosca brings together Shelley, Ivany, and a world-class cast: Ailyn Pérez as Floria Tosca, Matthew Cairns as Mario Cavaradossi, and baritone Nathan Berg as Baron Scarpia. Presented in a semi-staged format, it promises all the intensity of Puccini’s masterpiece with the full power of the NAC Orchestra in Southam Hall.

But equally important, it introduces a second cast: the singers of the Edmonton Opera’s Emerging Artist Program, who are shadowing rehearsals in Ottawa, learning directly from their professional counterparts: Vancouver-based soprano Leila Kirves as Floria Tosca, New Brunswick-born tenor Zachary Rioux as Mario Cavaradossi, and baritone Nicholas Borg from London, Ontario, in the role of Baron Scarpia. Later this month, those emerging artists will perform Tosca with local orchestras in Whitehorse (September 20) and Saskatoon (September 27).

“It’s not just about tonight’s performance,” Shelley says. “It’s about giving the next generation a chance to step into the room, feel the energy of a full orchestra, and carry that experience into their own careers.”

For Ivany, the partnership reflects a growing ethos of mentorship in Canadian opera. “If you’re an aspiring singer, the chance to prepare for a role, to stand beside established artists, and then to perform it with an orchestra—that’s rare,” he notes.

Opera at this level requires hundreds of people, from musicians and soloists to technicians and stage crews. Yet both Shelley and Ivany see Tosca not only as a showcase of artistry, but as a model for the kind of collaboration that sustains the art form: institutions working together, professionals mentoring emerging talent, and audiences across Canada sharing in the result.

For Ottawa concertgoers, it’s the excitement of experiencing Puccini’s drama as the season begins. For Saskatoon and Whitehorse, it’s the thrill of welcoming a new generation of Canadian singers. And for the art form itself, it’s a reminder that the future of Canadian opera is being written in moments like these.

Paul Philbert MBE – Principal Timpani

Paul is no stranger to Southam Hall. After appearing with the NAC Orchestra several times this past season, he now officially joins us as Principal Timpanist. Born in London, England, Paul’s career has taken him across the globe—from his role as the founding Principal Timpanist of the Malaysian Philharmonic, to Principal Timpanist of the Chineke! Orchestra and the Royal Scottish National Orchestra. His artistry is matched by his dedicated to education, outreach, and equity in the classical music world. In 2020, Paul was awarded an MBE by Her Majesty Queen Elizabeth II for services to music. We are honoured to welcome him to the NAC Orchestra family.

Giuseppe Fu – Principal Trombone

Joining us as Principal Trombone for the 2025-2026 season, Giuseppe Fu brings dazzling technique and expressive depth to our low brass section. Born in Hong Kong and trained at Juilliard, Giuseppe’s career has been as versatile as it is impressive—spanning orchestral work, solo performance, and chamber music with ensembles such as Metropolis Brass. Canadian audiences will soon experience his passion for the trombone firsthand, as he steps into this leading role with fresh energy and artistry.

Andrew Johnson – Principal Percussion

We’re delighted to welcome Nova Scotian artist Andrew Johnson as the new Principal Percussionist of the NAC Orchestra. Andrew has already made a strong impression on our stage in recent seasons, earning praise for his dynamic playing, versatility, and artistic curiosity. He also stepped into the spotlight in a special concert with Branford Marsalis, performing the virtuosic vibraphone part in John William’s Escapades. Now, as he officially joins the Orchestra in this key leadership role, audiences can look forward to his energy and artistry shaping the sound of the percussion section for years to come.

Please join us in welcoming Paul, Giuseppe, and Andrew to Canada’s National Arts Centre Orchestra!

This week, we’re thrilled to share the news: beginning in September 2026, John will become the seventh Music Director of Canada’s National Arts Centre Orchestra. 

Already part of the family 

NAC audiences know the feeling when John takes the podium in Southam Hall: the air is electric, and the connection between conductor and musicians is undeniable. That bond has only grown over the years since his NAC debut in 2013. 

“I couldn’t be more honoured, happy, and thrilled to become Music Director of an orchestra I already love so deeply,” says John. “Not only is it a fantastic orchestra, it is also a family of wonderful musicians and people, with whom I have felt a special bond from the very first time we worked together. I look forward to deepening my relationship with our audiences in Ottawa and with Canadians everywhere.” 

Our musicians agree. Principal Flute Joanna G’froerer puts it best: “Our weeks with John are always filled with challenging, profound, and exhilarating music making. We are completely in sync with him, with a depth of musical connection and trust that is truly special.” 

A conductor with global reach 

While John already feels like family here in Ottawa, his reputation extends around the globe. He is Chief Conductor of both the BBC Philharmonic Orchestra (Manchester, U.K.) and the Turku Philharmonic Orchestra (Turku, Finland); and has been the longtime Artistic Director of the Lapland Chamber Orchestra (Rovaniemi, Finland)—one of the northernmost professional orchestras in the world—where he celebrates his 30th anniversary in 2026. 

He has appeared with many of the world’s foremost orchestras—from the Berlin and New York Philharmonics to the Boston and Chicago Symphonies. And he remains active as a violinist, often performing chamber music and even stepping into WolfGANG Sessions with NACO musicians at Club SAW, where audiences have seen him play daring experimental music side by side with our own players. 

What others have noticed 

It’s not just musicians and audiences who have felt John’s impact. Back in 2015, journalist Paul Wells wrote about the impression John had already made after just a handful of concerts with the NAC Orchestra. 

“Audiences could be forgiven if guest conductors start to blur together after a while… But sometimes those visitors manage to make an impression. And sometimes they return often enough that we should start to notice, remember their names and styles, and look forward to their next visit. In only two years, after only two previous visits to Ottawa, I’ve begun putting an asterisk next to John Storgårds’s name.” 

Wells also highlighted John’s empathy for musicians—rooted in his own early career as a professional violinist—and his gift for making new music feel essential: “Few conductors anywhere have performed and recorded as much newly-composed repertoire as Storgårds has.” 

Ten years later, those early observations ring true. The qualities our audiences first noticed—humility, empathy, and a fearless curiosity for new sounds—are the very qualities that have made John such a natural fit to lead Canada’s National Arts Centre Orchestra. 

Memorable moments with NACO 

Over the years, John has led some of our most talked-about concerts. In 2023, he conducted NACO concertmaster Yosuke Kawasaki as soloist; in 2024, he returned to lead associate concertmaster Jessica Linnebach in Vaughan Williams’s The Lark Ascending. Both performances were unforgettable showcases of trust and warmth between John and the Orchestra. 

His WolfGANG Sessions appearances are legendary too—from a haunting Jessie Montgomery violin duet with Linnebach to a theatrical solo piece by Finnish composer Kimmo Hakola, performed while moving across the stage with seven music stands. 

Another highlight came in 2023, when John led Roope Mäenpää’s Luovus Symphony for Yoik and Chamber Orchestra with guest Sámi vocalist Niillas Holmberg. The yoik, a traditional song form of the Sámi people of Northern Europe, offered a glimpse of how John’s Nordic heritage and our Orchestra’s spirit of openness can come together in powerful ways, aligning with the NAC’s commitment to presenting diverse and Indigenous voices. 

And who could forget the night trumpeter Håkan Hardenberger returned to the stage for an encore with John? Together with the Orchestra, they offered a luminous arrangement of Joni Mitchell’s Both Sides Now—a Canadian classic reframed with tenderness and grace. It was one of those rare moments where the hall seemed to hold its breath, then erupted in applause. 

In 2024, when superstar violinist Hilary Hahn withdrew due to injury, John invited young Canadian pianist Jaeden Izik-Dzurko to make his NAC Orchestra debut. Rising to the occasion, Izik-Dzurko delivered a performance that wowed audiences and demonstrated John’s instinct or championing emerging Canadian talent. 

Looking further back, John also conducted the “50 Years of Music with the NAC Orchestra” concert in 2019, part of a week-long festival of free events celebrating the Orchestra’s 50th anniversary. That performance honoured not just the music, but the musicians and the community who have shaped the Orchestra’s story since 1969. 

What’s next 

NAC Orchestra audiences will have two big opportunities to experience John on the Southam Hall stage before he officially begins as Music Director in 2026: 

• November 26 and 27, 2025: Hadelich Plays Barber—with Grammy Award-winning soloist Augustin Hadelich, plus Brahms’s Symphony No. 3 and a ravishing Bach arrangement by Kalevi Aho. 
• February 11 and 12, 2026: Storgårds, Saint-Saëns & Thibaudet—A program inspired by travel and discovery, featuring Debussy’s Prélude à l’après-midi d’un faune, Saint-Saëns’s dazzling “Egyptian” Piano Concerto with Jean-Yves Thibaudet, and Haydn’s spirited “London” Symphony. 

Looking ahead 

John Storgårds will officially begin his tenure as Music Director in the 2026-2027 season, succeeding Alexander Shelley. Rather than a “new beginning”, it’s fair to say this appointment is the deepening of a relationship that musicians and audiences already cherish. 

“When I look back at the highlights of each season,” John reflects, “my concerts with the NAC Orchestra always stand out among the very best moments.” 

We couldn’t agree more. And we can’t wait for audiences everywhere to experience what comes next. 

Explore more 

• Watch John’s latest WolfGANG Sessions performance 
• See upcoming concerts this season 
• Discover recordings on Spotify’s “This is John Storgards” playlist 
• Learn about Canada’s National Arts Centre Orchestra
• Read the full press release

For its upcoming performance at the NAC's French Theatre, Les Chiens de Navarre is seeking 10 volunteers to be extras in the show La vie est une fête, presented at the NAC from October 2 to 4, 2025.

Eligibility Criteria and Terms

• Must not be a professional performing artist (this means people working in theatre are not eligible)
• Having experience as an amateur performer in one or more shows is a plus (some stage experience is welcome)
• Must be in good physical shape: participation in two scenes of the show (frenzied dancing and faux protest)
• Must reside in the greater National Capital Region (Outaouais, Ottawa and its surroundings)
• Must be 18 to 50 years old (for informational purposes only)

Commitment

Selected participants agree to be unpaid extras in La vie est une fête and commit to being available on the following dates:

• Thursday, October 2, from 2 p.m. (rehearsal, meal, 7:30 p.m. show, followed by reception)
• Friday, October 3, from 6 p.m. (7:30 p.m. show)
• Saturday, October 4, from 1:30 p.m. (3 p.m. show)

The show lasts approximately 1 hour and 40 minutes, no intermission.

To Apply

Please fill out the sign-up form here (available in French only).

Application deadline: Wednesday, September 3rd, 2025, at 10 a.m.

Note

From the National Assembly to the emergency psych ward, La vie est une fête is a gripping exploration of humankind’s insanity in the face of the torments of our modern world. The actors’ biting humour and explosive energy take audiences on a mind-bending trip through our personal and collective madness. Anyone who signs up to be an extra must be fully aware of the show’s subject matter and setting (part of it takes place in a psychiatric hospital) to avoid any upset or discomfort with the show environment.

The NAC is committed to shaping a more diverse, equitable, and inclusive future for the performing arts in Canada. We are proud of our commitment to improving accessibility and inclusion by identifying, removing, and preventing barriers for persons with disabilities. To ensure that everyone can fully participate in society, all organizations must work together to make accessibility happen.

We consulted with persons with disabilities, NAC employees, patrons, and other stakeholders to prepare our Accessibility Plan 2022-2025 and are now inviting you to participate in crafting our Accessibility Action Plan 2026-2029. We’re eager to hear your voice—and your vision for the future of accessibility at the NAC. 

As we continue to strengthen inclusion across our programming, venues, and services, your lived experiences and creative suggestions are invaluable. This is your opportunity to help us build an NAC that reflects and respects the diversity and inclusion for everyone.

Ready to reimagine accessibility with us?

Consultations are open until September 30, 2025.

National Arts Centre (NAC) accessibility public consultation registration form

You can choose to participate in-person, by phone, online, or via virtual sessions with full accessibility supports. Once you are registered, we will reach out with details concerning the different participation options available to you. 

Register now

“Basically, I taste colours and textures,” says Stephany. “It’s a trait of autism. When I’m drawing, I taste it and if it doesn’t taste good, then I don’t like it. For example, the yellow I used for the sun is more like a mustardy colour, and that one is more fun. It tastes like a candy I used to have, a sour candy that’s really yummy. Whereas green is more like a sour apple type of thing and it also tastes like a leaf that I used to chew on as a kid in Seychelles.”

Stephany used this extra-sensory input to choose the colours for their illustration, Zoli Zour, which is featured on the NAC’s Kipnes Lantern for Pride Month in the National Capital Region (NCR). The illustration includes a welcoming sun, a winding river, and mallard ducks.

“Queerness in the bird community is more common than people think,” Stephany says. “While growing up, I found the idea of being colourful, especially in the masculine environment, had always been like ‘you’re gay or something.’ When you look at mallard ducks, their colours are so bright, it makes me think of drag queens.”

Although Stephany was born in the Seychelles, they later moved to Calgary. That physical move led to an emotional shift in their understanding of who they were as a person. They now identify as a non-binary person.

“I remember when I was growing up an elder would be like ‘Ohh! This queer man you see there, he is possessed by the devil,” Stephany recalls. “I remember the first time I had a question about my sexuality at the age of five, I thought to myself that because I like girls that means I must be a boy. But the Seychelles wasn’t an environment where I could explore what that meant. I had the opportunity to move to Canada as a teen and that’s when my mind became more open to the queer community. I got to meet more people and came to understand that queerness should be normalized.”

Stephany explores their art through illustrations, tattooing, painting and printmaking. Their work will be featured on the Kipnes Lantern in August.

The performance required the installation of 13 replica radio towers on the Azrieli Studio stage and a radio antenna on the roof of the National Arts Centre. The roof antenna calls out to radio towers across the world, talking to five of Sackville’s international “sister sites” ranging from Nashville, Tennessee to Issoudun, France to create a simulcast during the show.

“I describe my work as tentacular,” says show creator Amanda Dawn Christie, who learned soldering, electrical engineering, and how to de-grease animal bones for this project. Inspired by the deep cultural and geological connection Sackville had to the radio towers, Christie’s fascination increased as she dove deeper into the national and international history of the shortwave site.

Built during World War II, Christie says the towers sent the radio waves “ricochetting between the ionosphere and the surface of the earth like a ping pong ball” and were used to communicate with Europe, Africa, and South America, using the surrounding saltwater marsh for conductivity to increase the signal. Later, the Canadian towers would be “the first site to break the jamming signals of the Iron Curtain.”

These 400-foot-tall towers scraped across the skyline and were so powerful that locals would hear radio broadcasts coming out of the taps in their sinks, as the copper pipes created an antenna. “I was so jealous,” says Christie, who at the time had already started to build her own radios. This inspired Christie’s first documentary on the towers, Specters of Shortwave, which later evolved into Requiem for Radio.

Christie also learned how to build theremins for this project. The theremin as the performer moves their hands through an electromagnetic field around the instrument, disrupting the field and changing the pitch and tone of the sound. While the theremin amplifies frequency sounds, the replica towers project sounds recorded from each individual radio tower, allowing each tower to have its own personality and represent a note on the chromatic scale.

Using the leg bone of a calf that once lived underneath the radio towers, Christie was able to create a bow with horsehair string to play the electric cello that is a part of this performance.

“I’m really interested in this idea of agency of things,” she says. “The material, the matter, the molecules. This bone was in a living cow that was beneath those radio towers when they were sending electromagnetic waves around the world. There’s just something about the certain form of liveliness in everything. If this bone breaks, it won’t be replaced, That’s it.”

Requiem for Radio: Full Quiet Flutter is a performance that harnesses the power of the globe to perform a mass for the fallen shortwave radio towers in New Brunswick. These towers are just as ephemeral as the people who perform for them and the instruments they perform on. As more shortwave facilities close around the world and our society becomes more dependent on the internet for global communication, elements of performance start to disappear.

Jonathan Wade, a percussionist and Ottawa native, had been a fixture in Southam Hall since joining the Orchestra in 1982. He first trained with Ian Bernard and Pierre Béluse at the University of Ottawa, then earned a Diplôme d’études supérieures spécialisées in timpani repertoire from the Université de Montréal, studying under renowned timpanist Louis Charbonneau.

In addition to his work with NACO, Jonathan performed with several notable ensembles, including the Canadian National Brass Project, Capital Brassworks, and Thirteen Strings Chamber Orchestra. He is also a highly regarded instructor and coach, having served as an adjunct professor of timpani and percussion at the University of Ottawa. From 1986 to 2009, he taught percussion at the Ottawa Youth Orchestra Academy. Throughout his tenure, Jonathan was a dedicated community ambassador for the Orchestra, presenting hundreds of school concerts as part of NACO’s learning and engagement programs.

Violinist Edvard Skerjanc began playing the violin in his native Croatia at the age of six. He completed his professional training at the Zagreb Academy with Martin Baric and continued his studies in Russia with Isaac Reider. In 1982, he moved to the United States to study with Leopold La Fosse. Edvard joined NACO in 1995, following several seasons with the chamber ensemble I Musici de Montréal.

Over the course of his career, Edvard was featured on numerous recordings and expressed his passion for chamber music by performing in many ensembles.

Thank you, Jonathan and Edvard, for your valued contributions to the National Arts Centre Orchestra. Congratulations on your well-deserved retirements!

His deep passion for ballet has inspired many of us, and we are honoured to have witnessed his remarkable journey. Guillaume Côté is, without question, a true icon.

A little about Guillaume

Guillaume Côté grew up in Métabetchouan Lac-à-la-Croix, a small town in Quebec’s Lac-Saint-Jean area. His parents had a desire to bring more culture to their community and opened a ballet school — sparking Guillaume’s early passion for dance. Naturally gifted from an early age, he moved to Toronto at 11 years old to join Canada’s National Ballet School, where he could fully immerse himself in the art form he loved. Over the course of his remarkable career with The National Ballet of Canada, Guillaume had the opportunity to work with some of the most celebrated choreographers in the world, including John Neumeier, James Kudelka, William Forsythe, and Crystal Pite.

Iconic roles

Guillaume Côté became a principal dancer in 2004 at the young age of 23 years old and has performed many of the major classical roles with The National Ballet of Canada. Several lead roles have been created specifically for him, including Romeo in Alexei Ratmansky’s Romeo and Juliet which he also performed as a guest artist with The Bolshoi Ballet in Moscow, Prince Charming in James Kudelka’s Cinderella — a role he performed at the Metropolitan Opera House — and Gene Kelly in Derek Deane’s Strictly Gershwin for the English National Ballet.

Guillaume also tackled one of the most challenging roles in the ballet repertoire, Onegin. He played the arrogant aristocrat with depth and complexity, delivering a performance rich in nuance and charisma.

Another impressive and physically challenging performance was his portrayal of Russian ballet dancer Vaslav Nijinsky in John Neumeier’s Nijinsky. He truly gave the audience an intimate glimpse into the character’s turbulent existence, bringing him to life with emotional intelligence and flawless technique.

Other talents

Guillaume has always thrived working with fearless creators. Endowed with a strong curiosity, he continuously strives to bring the art form to new heights, pushing the boundaries of his own creative practice. In addition to performing, Guillaume Côté has also made his mark as a choreographer — notably with works like Crypto (Côté Danse) and Frame by Frame (NBoC) with Robert Lepage. Some may remember his participation in the 2017 NAC landmark commission ENCOUNT3S which paired three of Canada's outstanding choreographic talents with three of the country's most exciting composers. Guillaume was paired with noted composer Kevin Lau for his work Dark Angels. Moreover, Guillaume is himself an accomplished musician and composer. A little fun fact: when Guillaume was 15 years old and a student at the National Ballet School, he played in a rock band in Toronto, a genre of music he still particularly loves.

What’s next for Guillaume?

Now that Guillaume has retired from The National Ballet of Canada, he is keeping busy as the Artistic Director of the Festival des Arts de Saint-Sauveur — one of the largest summer dance festivals in the country, and Artistic Director of his own company, Côté Danse, which he founded in 2021.

His latest creation with Lepage, The Tragedy of Hamlet, Prince of Denmark, is landing at the National Arts Centre on February 25 and 26, 2026. Expanding on their shared love for Shakespeare, they have joined forces once again to tackle this classic of literature: conveying the intricate tale of Hamlet without words. Guillaume will be joined on stage by eight dancers, including former Principal Dancer with the National Ballet, Greta Hodgkinson, O.Ont.

“One of the finest male dancers in the world.”
The London Times

More on Guillaume Côté

“Guillaume Côté: The Dancer Who Can’t Stand Still” , NUVO Magazine

“Two longtime collaborators on why Guillaume Côté might be the best of Canadian ballet”, CBC Arts

“Guillaume Côté just gave his final performance after 26 years with the National Ballet of Canada”, Toronto Life

What is your background in music and how do you use your music as an educational tool? 

Walter MacDonald White Bear: My background is basically by ear. I've learned from a lot of players within my family. It’s basic in terms of musical training but music has opened doors—taking me to stages across Canada and all across the world, and to places that matter to me, like universities, churches, conferences, and schools. 
In those rooms, people are more open, and [the message] is more educational, more accepted and it comes across in a professional setting. It's more efficient. 

Samantha Whelan Kotkas: I started as a singer in elementary school, then picked up the trumpet in junior high and kept that going through high school. I did a Bachelor of Music in Secondary Education at the University of Calgary and a Master’s degree in trumpet performance at the University of Houston. I also spent a year at the Banff Centre, trying to figure out how I was going to use my music. Community kept coming up.  
We use music as an educational tool to elicit more discussion. When we perform, it opens up a sacred space that encourages children to ask questions.  

In May, you were at Manning Elementary School in Alberta for your cross-cultural program. What kinds of activities did you offer the students?  

Walter: We were working with the kids on creating a school song, doing poetry, and exploring the creative process with the student leadership team.  

Samantha: Yeah, it was a cool spin. They are opening a brand-new school from kindergarten to grade 12. We came in to celebrate that. We were the first visitors, artists in residence they've had, which was really special.  

Do you have any feedback from the students you'd like to share? 

Walter: When grade 9 boys hug you, that's a big statement. No one's telling them to do that, so they obviously like us being in the school. 

Samantha: We had kids that had to write letters to join our leadership team. One wrote that they just like to “hang” with Sam and Walter. That kind of feedback is huge. 

How long have you been doing this cross-cultural program in communities and schools in Alberta in partnership with Arts Alive? 

Walter: Since I’ve met Samantha through the NAC program, which had a lot of good connections, knowledge and camaraderie. Our friendship took on a life of its own, and it's been well received. 
But I've been doing that my whole life. Going to university as a First Nation student and even in the professional world, I was often one of the few Indigenous people. Being able to do it through art and music is a lot more fun and more impactful.  
 
Samantha: Walter and I have been a cross-cultural team for over 10 years now. We met in 2014 through the NAC’s professional development program for teaching artists across Canada and started going into the schools the next year. The concept was inspired by the educational work of Sherryl Sewepagaham (a Cree/Dene Musician and composer). It started with “nature speaking” and evolved from there. And then a school reached out to us after seeing a song we had created for another school on social media.  

What's the goal of your cross-cultural work? 

Walter: It’s more underlying, hidden curriculum that comes from just Samantha and I working together.Canada still has a lot of work to do with the original people. What we’re doing here is just one small step in the right direction.  

Samantha: I'd say my goal is to make our world a better place and help people to be more understanding and open to new things.  

Over the years, what have you seen in terms of the positive impact of your work? 

Walter: Well, just in the cheering. It's not like chopping wood. We don't know what kinds of seeds we're planting. But when we're in the schools and the energy is strong, everyone seems to be very positive and glad we're there.  

Samantha: A community like Manning, where we've returned for 10 years, they're excited when we show up. They know us as Sam and Walter; we're like one entity. 

A few years ago, you said artists would be the leaders in the reconciliation process. How do you build understanding of what reconciliation means in your work? 

Walter: You just need an audience and the NAC has provided that. But our message needs to reach a much larger audience, in bigger venues, with cross-cultural teams going across Canada. The more things like that, the better. There's a lot of negativity out there, but what we do is positive. 

Samantha: Just us showing up in a room as friends, that’s part of the reconciliation process. And like Walter says, the bigger venues we are in, the more it seems to touch people. We did something at Jack Singer Concert Hall, in Calgary, before Christmas and received a standing ovation. People were really excited. It's contributing to the reconciliation process. Artists will lead reconciliation – maybe because we're open-minded. 

*Video by Roadwest Pictures

First up are two incredible Indigenous creations! And perfect timing, as it’s National Indigenous History Month – a chance to revel in the power of Indigenous artists and storytelling. We are so proud to invest in these extraordinary artists.  

Rose
NAC Indigenous Theatre

From Tomson Highway, award-winning Indigenous playwright of The Rez Sisters and Dry Lips Oughta Move to Kapuskasing, comes the musical Rose, the deeply moving and fiercely funny final chapter in his acclaimed “rez” cycle.  

“This will be the first professional production of this important work, with a cast of Indigenous actors and an Indigenous director. This is the exactly the kind of work that NAC Indigenous Theatre was created to do: to bring challenging, brilliant, Indigenous stories to the national consciousness. This production will be a statement as to how far we’ve come since Rose was first written in 1992.” – Kevin Loring, director of Rose and Artistic Director of NAC Indigenous Theatre

Our investment of $150,000 is supporting an enhanced development process including the workshopping of an updated script at the Banff Centre in April, where the company began to put the music and songs together for the first time in 24 years. 

Rose will premiere as part of NAC Indigenous Theatre’s 25/26 season, running from March 25 – April 4, 2026. 

She Holds Up the Stars
Red Sky Performance

She Holds Up the Stars is genre-defying performance, featuring storytelling, life-sized puppetry, movement, theatre, orchestral music, and visual design. The story follows a young Indigenous girl as she navigates a world of both cruelty and beauty. Returning to live on the rez, she forms an unexpected bond with a wild horse once broken by a rancher and his son. As tensions build around her, she discovers an inner strength that transforms her connection to land, home, and heart. 

“Our passion for creating this new work is to inspire a generation of young minds and hearts. We want to spark a life-long love affair with stories. Our hope is that we will nurture a new generation that grows up with Indigenous stories, values and worldviews that lead to a better world.” – Sandra Laronde, director and playwright of She Holds Up the Stars

Our investment of $170,000 significantly expands the development process, and brings international artists into the creative process, including world-renowned puppet designer Nick Barnes. 

She Holds Up the Stars is commissioned by the Toronto Symphony Orchestra with the Vancouver Symphony Orchestra in association with TO Live.  It will premiere in April 2026, with the Toronto Symphony Orchestra at Roy Thomson Hall. 

2021
Guilty by Association

Co-created by Cole Lewis, Patrick Blenkarn, and Sam Ferguson, 2021 explores the significance of human data and the challenges of preserving dignity in death for those we fundamentally disagree with. Part live narrated video game and part collaborative storytelling event, the experience revolves around a daughter’s attempt to keep her father alive: first through objects he left behind, then through a game built around him, and finally through digital resurrection. 

“This investment has given us permission to pursue the impossible: to build something theatrically ambitious, technologically complex, and deeply human. We now have a chance to expand our team in multiple directions, theatrically through lighting and scenic design, digitally through AI support, 3D modellers, and environment artists, and through an increased focus on access at all levels of the work’s design.” – The co-creators of 2021

Our investment of $165,000 not only expands the creative team, it also provides more time for intensive in-person development to integrate game and AI advancements into the theatrical design. 

2021 will premiere early in 2026 – stay tuned for details. 

Wishing you a wonderful summer! 

The story below is recounted by Moh and Yulanda Faris’s daughters — Reema Faris, Ramona Chu, and Yasmeen Strang. 

When Dad and Mom received the Ramon John Hnatyshyn Award for Voluntarism in the Performing Arts in 2010, it was a proud moment for our entire family. We knew the difference our parents had made with their support of the arts; now, with this Governor General’s Performing Arts Award, bestowed by then Governor General Michaëlle Jean, so did the rest of the country. 

As part of the award proceedings, the National Film Board commissioned a short film about Mom and Dad. It tells the story, in their words, of how they met, why it was important for them to support the arts, and what they hoped their philanthropy would accomplish. The film is a poignant piece that documents their early start as a couple and how they learned to navigate the dance of life together, through ups and downs, side-by-side. 

Our father was born in Lebanon and our mother in Jamaica. While their early schooling and childhood lives included aspects of art, they weren’t given the opportunity to develop their own skills and talents. Both of our parents learned to appreciate the arts as they matured — they were self-taught in that respect— and they recognized the value of art, which makes life more meaningful, more transcendent than surviving the challenges of day-to-day living.  

As our parents advanced their own education and as our father developed his career, they both further realized that art is a language that bridges differences, builds community, and challenges complacency. 

Coincidentally, the year our parents received the award was also when Kevin Loring was named a protégé, alongside his mentor Gordon Pinsent, through the Governor General’s Performing Arts Awards Mentorship Program. In subsequent years, Kevin Loring (Nlaka’pamux, Lytton First Nation), was announced as the first Artistic Director for Indigenous Theatre at the National Arts Centre, and our family continues to have a meaningful connection to the NAC.  

In 2015 our mother passed away and we established the Yulanda M. Faris Fund. This fund was designed to support the NAC’s investment in new works in her memory. The Yulanda M. Faris Stage was also named in our mother’s honour; it is a venue for free public performances that sits on the same level as the NAC’s Elgin Street Entrance. 

A few years later, when we learned that the NAC was creating an Indigenous Theatre department, we wanted to contribute. As a family, we feel that it is important to champion the unifying power of the performing arts while celebrating diverse voices.  

It seemed to us that supporting Indigenous Theatre would be the most profound way of ensuring that necessary voices are amplified and uplifted —that stories are told from the people who embody the spirit of the land and yet have borne the burden of its abuse and oppression.  

Our family is distraught as we watch current world events weaponize destruction, exploitation, and erasure to belittle, dismiss, and ignore the existence of those whose roots extend back to time immemorial. To us, it is more important than ever to support the arts, particularly Indigenous art, which Indigenous Theatre at the NAC exemplifies.  

We believe that art will help us all find our way through the knots of history, to unravel the inequities of the past and present, and to envision a future where each person’s humanity, regardless of race, ethnicity, gender, sexuality, class, and disability, is avowed and upheld. 

Would you like to tell us why you support the performing arts for a chance to be featured in Full Circle? If so, please contact us by phone at 343 588-1340 or by email at donorscircle@nac-cna.ca    

Jenni, a local high school student, joined Robert VanderBerg, the NAC’s Archivist and Curator, as a volunteer intern and chose the works now displayed in the Ruddy Lounge. We asked her to share a few reflections on this unique experience. 

Congratulations on being the first volunteer intern to help curate the artwork from the Art Bank! What inspired you to take on this unique opportunity? 

I recently went to New York and visited The Met, where I saw some amazing art. Not long after, I had a field trip to the Canadian War Museum and saw an exhibition on women artists during wartime. That really stuck with me. So, when I saw this opportunity, it reminded me of what I saw at the War Museum and I love art, so it felt like a natural fit. 

Tell us a bit about the pieces you selected. Were there certain themes, artists, or ideas you were drawn to when making your choices? 

At first, I wanted to focus on nature-based pieces because my original idea was about spirituality and nature. But it kind of evolved into exploring how the human body and nature connect through art. I ended up choosing works with human figures and paid attention to the colours too, like greens, blacks, and browns. 

You were involved in the entire curatorial process—from your first visit to the Art Bank to the final installation. What was that experience like for you? What moments stood out? 

I didn’t know what to expect going into it, but it turned out to be a really fun and eye-opening experience. I think the visit to the Art Bank stood out the most. I've never been in a place like that where they had so much art on the walls and stacked in shelves. After visiting the Art Bank, I told my friends how interesting it was. 

What did you learn from this internship, and how has it shaped your interest in art or curating going forward? 

It helped me see art in a deeper way. I used to just notice what looked cool on the surface, but this experience taught me to spend more time with each piece, looking closely and learning about the artist and their story. And it definitely made me want to do something art-related in the future! 

Thank you to Jenni for taking the time to make our space beautiful and meaningful! We’re thrilled to feature these works through the eyes of a young, first-time curator who brought her energy, curiosity, and a sense of style to the Ruddy Lounge. Also, we appreciate her reflections — it helps us see the Art Bank collection in a whole new light. 
 

About the Canada Council Art Bank

The Canada Council Art Bank, a program of the Canada Council for the Arts, Canada’s national arts funder, is the largest collection of contemporary Canadian art with more than 17,000 works of art by 3,000 artists from across the country, including a significant number by Indigenous artists. Through art rental, exhibitions and outreach activities, the Art Bank creates engaging workplaces, public spaces and communities that contribute to the visibility and vibrancy of contemporary art.  

But the story of Indigenous Theatre at the NAC didn’t begin five years ago. It reaches back to 1969 when The Ecstasy of Rita Joe by George Ryga was presented at the newly opened National Arts Centre. A powerful play about the impact of systemic racism, the production left a lasting impression as the very first play ever presented by NAC’s English Theatre and one of the first works to address issues relating to First Nations in this country.

In 2009, English Theatre Artistic Director Peter Hinton brought The Ecstasy of Rita Joe back to the NAC to commemorate its 40th anniversary. He asked Yvette Nolan to direct. Along with the important anniversary, the production marked the first time the play had been directed by an Indigenous director with Indigenous actors in all of the Indigenous roles. A few years later, Hinton directed an all-Indigenous cast in King Lear, which featured August Schellenberg, Tantoo Cardinal, and Kevin Loring himself. These are just two of the outstanding pieces during Hinton’s tenure honouring his commitment to program at least one Indigenous work each season.

These moments helped lay the groundwork for what was to come.

For many artists, the creation of an Indigenous Theatre department felt like something that should have always been there—a place to tell stories on their own terms. Jesse Wabegijig, an actor from the Wikwemikong Unceded Anishnabek Territory, remembers the moment the department was announced as a powerful turning point. 

“One of the biggest things Indigenous people feel has been denied to them is a sense of legitimacy and sovereignty to be able to choose what form of art represents the different nations,” he said. Wabegijig also shared his hope that Indigenous Theatre would have the power to decide which stories get told and who gets to tell them –which would give Indigenous artists more control over their work. 

That hope has become a reality. Since launching its first season in 2019, Indigenous Theatre has brought together artists from across Turtle Island and beyond. Through dance, song, and story, they’ve shared work that’s honest, funny, painful, beautiful, and deeply meaningful. 

The inaugural season of Indigenous Theatre opened with Mòshkamo, a festival that started with a canoe procession on the Rideau Canal led by members of the Algonquin community. The first season included plays like The Unnatural and Accidental Women by Marie Clements, Finding Wolastoq Voice by Natalie Sappier, and Kevin Loring’s Where the Blood Mixes. All powerful stories that honour ancestors, confront loss, and imagine healing.

Watch a video celebrating five years of Indigenous Theatre at the NAC 

But Indigenous Theatre has become much more than the performances on stage.  It’s about relationships. Community-led events like beading circles, powwow life drawing, and the Indigenous Women’s Art Market have created space for gathering and sharing in public spaces at the NAC. Online projects like Indigenous Cities and #ReconcileThis have opened new conversations about reconciliation and representation.  

All of this was brought to life by a community of people who believed in the idea of and need for Indigenous Theatre. This includes donors from across the country, who stepped up early on.  

The Faris family in Vancouver are longtime donors to the performing arts and were among Indigenous Theatre’s early supporters. Most recently, they contributed to the department's learning and engagement programs. They reflect on why they give:  

“Five years of Indigenous Theatre at the NAC is five years more of storytelling in a tradition that extends back for longer than we can remember. Our family is honoured to support this tradition that offers all of us wisdom and passion, guidance and caution, inspiration and hope.” 

Shail Verma and Myles Kirvan, Ottawa residents and loyal NAC supporters, were also among some of the first supporters of Indigenous Theatre. As Shail reflects:  

“Today, Canadian society is one of the most diverse on earth, with immigrants from all corners of the globe enriching our artistic lexicon with their own heritage. The limited offering of Indigenous-led performing arts on Canada’s national stage was striking, and we wanted to help foster understanding and celebrate the rich traditions of Indigenous Peoples.” 

Myles adds that he believes that Indigenous Theatre at the NAC will remain a beacon of hope, a space where stories are truly heard and understood, and where Indigenous cultures are celebrated as foundational and integral to Canadian identity.  

As Indigenous Theatre marks five years of storytelling, it’s clear the story is still being written. The next five years will hold new voices, new ideas, and new connections, all grounded in a deep respect for where the journey began. 

“Having a place here at the NAC has been incredibly impactful,” says Lori Marchand (Syilx First Nation), Managing Director of Indigenous Theatre. “We’ve gone from a time when cultural practices were banned to now, where there is a permanent Indigenous Theatre department at the NAC.” 

To accompany the production, a series of evocative paintings by Indian artist Tanya Momi and Pakistani painter and activist Salima Hashmi were exhibited in the Studio lobby, offering audiences a visual reflection on the themes of the play.

Before Trident Moon began its run at the NAC, Nina sat down with Anusree and Tanya to discuss how hearing their families’ stories about the 1947 Partition of India shaped their creative work— and how art can help with ensure histories like these are never forgotten.

Learn more about Trident Moon and Anusree Roy in the program notes.
Learn more about Tanya Momi on her website.

“Not many people who come from places that I come from have these opportunities and so I owe it to all the Indigenous people that I’ve met along the way,” said Pennell, who identifies as two-spirited. “Our voices, our art, our performances and our bodies belong on these stages just like everybody else. I actually have no idea how the National Arts Centre found me, but they did! It’s just amazing.”

Pennell was chosen by a committee of artistic leaders at the National Arts Centre who have a pulse on rising Canadian talent. The award is based on merit and impact on the community. Daphne Burt, Senior Manager of Artistic Planning for the NAC Orchestra, nominated Emma.

“This is a star on the rise. Despite their relatively young age, they have already demonstrated an ability to sing a wide variety of repertoire. A singer’s instrument takes decades to mature so for them to already have this range suggests a very exciting trajectory,” explained Daphne Burt.

The life of an aspiring opera singer involves travel for auditions and attire for the stage, no small financial undertaking especially for emerging artists at the beginning of their artistic journey. Pennell says the recognition and the financial support from RBC is of crucial importance.

“It’s a life-changing amount of funding. With opera, specifically, if you don’t have the money, it’s almost like you can’t do it because it’s just so expensive to audition.”

Emma Pennell

RBC’s Emerging Artist Award is now in its third year of helping talented performing artists continue to strive to reach their potential. 

“At RBC, we know the creative community makes meaningful and important contributions to our communities and our economy – it’s why we are proud to support this award year after year. Congratulations to operatic soprano Emma Pennell, the recipient of the 2025 RBC Emerging Artist Award,” shared Andrea Barrack, Senior Vice President, Sustainability & Impact, RBC.

“Emma is a trailblazer whose work as an Indigenous activist, champions Indigenous musicians, and inspires us all. Thank you for your contributions to the arts and congratulations on this well-deserved recognition – we look forward to seeing how you will continue to use your remarkable gifts.”

Pennell will receive the award at a special event on June 14, part of the weekend of celebrations for the Governor General’s Performing Arts Awards.

It’s barely 6 a.m. when we meet at Gate 17 at the airport. Alexa Dirks (aka the musician Begonia) lounges at the gate in a baby blue sweatsuit. With her is Bojana Stancic, the consummate curator in all-black, and Seth Woodyard (Begonia’s creative director) in neon yellow, which I love not least because it matches my nails. They’re a beautiful blurry half-awake vision.

This is how the Creation Lounge began—a perfectly disorienting morning that eases us into the disorienting unknown of creation, as we move together in pursuit of something we can’t quite make out.

The Creation Lounge, the purpose of our trip, is a collaboration between Fogo Island Arts and the National Creation Fund. Situated within our work as an incubator dedicated to developing the conditions necessary for the creation of incredible performance, the Lounge arose from a need for opportunities for serendipity and embracing the unknown. Inspired by the challenges of reaching Fogo Island, the Creation Lounge is a place to dream about seemingly impossible creative questions. There is no expectation of output, just time to think, grapple, and dream.

Building off our last Creation Lounge with John Greyson and Njo Kong Kie, I was excited to invite the Begonia team and Bojana Stancic to join me in grappling with some music-driven impossibilities. Armed with flip charts, delicious food, a constant stream of coffee, and a bracing wind that almost pulled us into the ocean, we dove deep into world-building for multiplatform art and the intersection of performance and visual art practices. Listening to Begonia’s upcoming new album (spoiler: it’s amazing), we imagined immersive concerts, sculptural costumes, and modular performance design.

The Fogo Islanders we met are so proud of Fogo Island Arts and Shorefast, the overarching social enterprise founded by Zita Cobb. These organizations understand the impact of culture on community, and their work in building intertwined cultural and economic resilience is both innovative and rooted within the community. This is a community of people putting dreams into action. Huge thanks to the generous people who hosted us with great spirit and humour: Iris Stünzi, Alicia Penton, Pauline and Rex Brown, Kitty Scott, and the Shorefast team. And deepest gratitude to Alexa, Seth, and Bojana for being up for this wild adventure with me. 

You might be heartened to know how many people are up for taking the risk, are open to experiments and adventure, and choose to meet half-awake strangers at an airport gate. In the face of all there is to be afraid of these days (and there is a lot), I’m so grateful to those who say YES.

Announcing the Fund’s next investment:
Tupqan | Nos territoires intérieurs

And speaking of saying yes to adventures, I’m so excited to share our next investment: Tupqan | Nos territoires intérieurs! 

Tupqan is being created in celebration of the 40th anniversary of Productions Ondinnok, the first francophone Indigenous theatre company in Canada. This ambitious piece is an Indigenous co-creation by Ondinook, Menuentakuan and Production Auen, and celebrates what brings us together. 

Dave Jenniss says: “From the very beginning of the adventure, the creative team (Soleil Launière, Charles Bender, Xavier Huard and Dave Jenniss) discussed the importance of honouring Indigenous languages. With their unique ancestral sounds, we believe the power of the words we share with you will take on a whole new dimension.”

Our investment of $155,000 will support the company in developing a research, development and creation process that involves both emerging and established artists, in a highly collaborative format.

Thank you for being on this adventure with us! 

For a full list of upcoming shows supported by the Fund, visit our Season page.

Koyczan, a Dene artist originally from Yellowknife and now based in Winnipeg, works in 3D animation, virtual reality, sculpture, sound, and installation. His practice often returns to the North—its land, its stories, and its future.

“I’m really grateful for the opportunity,” he says. “It’s an honour to create for the Lantern and contribute to visibility for Dene artists. It made me reflect on home, and how most of my work is rooted in the North, even though I’m now based in Winnipeg.”

From diamond mine to digital portal

The idea for naedè; migrating began with Koyczan’s experiences working at the Diavik Diamond Mine in the mid-2000s. One day, he saw a herd of caribou near a man-made pond and began to wonder whether their migratory route had been disrupted by industrial activity.

“That moment sparked a shift in how I viewed environmental impact—not just on land, but everything it sustains,” he says.

Years later, those observations evolved into an artwork. Early experiments in VR using Tilt Brush, a digital painting tool, led to the concept behind naedè; migrating. The piece envisions a future where mining interferes with traditional migration routes, and the animals must use portals to continue their journey.

Visually, the scene is composed of clean, geometric forms. The animals move toward glowing structures framed like teepees and layered with fractal patterns. The work uses the blue-and-white palette of the Northwest Territories to ground it in place. Koyczan says the intent was to show disruption without relying on dystopian imagery.

Sacred technology

The portal motif also draws from Dene storytelling. “There’s a Dene legend about a portal connecting Northern Dene with the Navajo in Arizona,” Koyczan says. In naedè; migrating, these ideas are translated into digital structures that combine traditional forms with futuristic aesthetics.

Koyczan trained at Lethbridge College, Thompson Rivers University, and the University of Manitoba. But his interest in Indigenous futurism came from outside formal education. As a fan of science fiction—particularly the Alien series and Studio Ghibli—he noticed the absence of Indigenous people in most depictions of the future.

“A lot of future media is post-apocalyptic. But even then, there’s survival, resilience, and hope,” he says. “My work asks: What if the future includes us? What if we can coexist with the land and each other?”

A future with us in it

Koyczan’s approach to futurism avoids spectacle in favour of continuity. The portal in naedè; migrating is not a metaphor for escape, but a tool for adaptation—imagining how communities might respond to environmental change using both technology and tradition.

“It’s about conscious hope,” Koyczan says. “Creating work that imagines not just a future, but a healthy one, where Indigenous communities and knowledge thrive.”

Presented on the Kipnes Lantern as part of the National Arts Centre’s celebration of National Indigenous History Month, naedè; migrating asserts a future where Indigenous presence is visible, considered, and ongoing.

This year, 47 exceptional emerging and early-career musicians from across the globe will gather in Ottawa to refine their skills through side-by-side rehearsals and performances with the NAC Orchestra. They’ll also benefit from masterclasses and participate in workshops and networking events with industry professionals, gaining invaluable insights as they advance their careers. Orchestra etiquette, human rights, music and activism, institutional adversity, and women in orchestral leadership are just some of the diverse topics the participants will discuss during the program.

Under the mentorship of Music Director Alexander Shelley and NAC Orchestra musicians, participants from eight Canadian provinces, eight U.S. states, and countries including Japan, Korea, Taiwan, Hong Kong, Thailand, and Austria will have the opportunity to learn from some of the world’s leading artists. Among this year’s participants are 10 musicians who return to the program after participating in previous years, reflecting its lasting impact.

As the Mentorship Program continues to evolve and expand, this year’s edition includes some exciting additions. For the first time, participants will perform with the NAC Orchestra during its annual free Canada Day concert in Southam Hall. The program has also added a new position: in addition to the librarian and orchestra personnel manager participants, this year’s cohort includes an administrator, who will work side-by-side with the NAC Orchestra’s Manager of Artistic Operations. The program also adds a community engagement component this year, with the participants presenting an accessible Music Circle concert in collaboration with the Lotus Centre for Special Music Education.

Congratulations to this year’s participants! Your transformative journey with the NAC Orchestra begins now!

The 2025 cohort

Violins
Alicia Ingalls (Ottawa, Ontario)
Ariana O’Connell (South Barrington, Illinois)
Bennett Van Barr (Kinburn, Ontario)
Emma Reader-Lee (Victoria, British Columbia)
Jessica Tovey (Montreal, Quebec)
Kanon Itoh (Tokyo, Japan)
Lea Glubochansky (Salzburg, Austria)
Olena Kaspersky (Los Angeles, California) 

Violas
Emily Kistemaker (Guelph, Ontario)
Lydia Plaut (Sierra Madre, California)
Mikel Rollet (Boca Raton, Florida)
Ray Zhang (Helotes, Texas)
Troy Stephenson (Houston, Texas) 

Cellos
Hannah Craig (Victoria, British Columbia)
Somyong Shin (Seoul, Korea)
Yu-Ju Yen (Taoyuan, Taiwan)
Aidan Fleet (Gatineau, Quebec) 

Double Basses
Chad Rogers (White Hall, Maryland)
Gene Waldron III (Wyoming, Ohio)
William Deslauriers-Allain (La Macaza, Quebec)
Eric Timperman (Regina, Saskatchewan) 

Trumpets
Jid-anan Netthai (Bangkok, Thailand)
Justin Ko (Richmond Hill, Ontario) 

Horns
Christian León (Houston, Texas)
Ho Hin Kwong (Hong Kong)
Isabelle Marcucci (Quebec City, Quebec)
Mathilde Lepage (Montreal, Quebec) 

Trombone
Cole Davis (Evanston, Illinois)

Bass Trombone
Andrew Ng (Sha Tin District, Hong Kong) 

Tuba
Justin Hickmott (Winnipeg, Manitoba) 

Flutes
Félicia Lévesque (Montreal, Quebec)
Jayden Lee (Montreal, Quebec) 

Oboes
Luca Ortolani (Ottawa, Ontario)
Tai Yokomori (Banff, Alberta)

Clarinets
Amanda Robertson (Beausejour, Manitoba)
Zachary Gassenheimer (Miami, Florida) 

Bassoons
Eric James Li (Richmond, British Columbia)
Donald Schweikert (Ann Arbor, Michigan)

Percussion and Timpani
Andrew Busch (Toronto, Ontario)
Jonas Koh (San Jose, California)

Harps
Honoka Shoji (Toronto, Ontario)
Kathryn Sloat (Salt Lake City, Utah) 

Conductors
Benoit Gauthier (Baie-Comeau, Quebec)
Shawn Bennett (Clarenville, Newfoundland and Labrador) 

Librarian
Michael Macaulay (Hamilton, Ontario) 

Orchestra Personnel Manager
Gillian Chreptyk (Toronto, Ontario)

Administrator
Nagisa Yoshida (Sakura, Japan)

Her project, Marguerite: le feu, arrives at the National Arts Centre’s Babs Asper Theatre on June 12–13, 2025, part of a three-part exploration of memory, resistance, and reclamation that spans stage, podcast, and sound installation.

Born to Anishinaabe-Algonquin and French parents and raised between the Outaouais and Brittany, France, Monnet lives and makes art at the intersection of two worlds. That “double identity” drives every question she asks about heritage, language, and belonging. It also inspired her to launch Onishka Productions in 2011 (“wake up!” in Anishinaabemowin), a Montreal-based collective that links Indigenous artists around the globe and foregrounds their voices in theatre, film, and beyond. Formal training at Ondinnok’s programme, run with the National Theatre School, gave her rigorous grounding in Indigenous storytelling, while residencies at Centre du Théâtre d’Aujourd’hui and Espace GO have kept her practice lean, rigorous, and rooted in community.

Monnet’s 2021 work Okinum (“dam” in Anishinaabemowin) sprang from a dream of a giant beaver and used theatre, sound, and video to map inherited trauma and blocked memory. Presented at the NAC in September 2021 and performed in French, English, and Anishinaabemowin, it won the Indigenous Voices Award for French prose and was shortlisted for a Governor General’s Literary Award.

The Marguerite project

Now, Marguerite takes aim at a story that history almost erased. In 1740, Marguerite Duplessis, born to a free Indigenous mother and a French father, petitioned a Montreal court for her freedom. Denied and likely deported to Martinique, she was the first enslaved Indigenous person to challenge her status in court—fighting to be recognized as a person, not property, in a legal system that denied her humanity.

Monnet’s Marguerite project unfolds in three parts:

• Marguerite: le feu – a live performance of movement, song, and text built around Duplessis’s own testimony
• Marguerite: the crossing – a podcast retracing Monnet’s research journey
• Marguerite: the stone – a site-specific sound installation in Old Montreal

On stage, Monnet and her collaborators thread Indigenous and African women’s narratives to reveal the systems that enslaved them and ask what legacies we still carry. By using verbatim trial records alongside original music and choreography, she forces us to confront Canada’s colonial foundations—and our responsibility to remember.

“We created this piece to honour the memory of Marguerite, because she’s truly one of our heroines—and we don’t know her, or we don’t know her well enough,” says Monnet. “Her story—like so many others—is tragic. At the same time, it’s deeply inspiring. She showed tremendous courage and carried profound knowledge. If we want to imagine a better future, we have to address the wounds of the past. That’s what this piece is trying to bring to light.”

Beyond Marguerite, Monnet’s résumé includes co-founding the Bird Messengers collective (LOJIQ Culture Prize, 2011); launching the Indigenous Contemporary Scene series at OFFTA in 2016; premiering the immersive Nigamon/Tunai at Festival TransAmériques 2024; serving as artist-in-residence at the Centre du Théâtre d’Aujourd’hui (2018–21) and at Espace GO (2022–24); on screen, she appears in Eaux Turbulentes III and Caroline Monnet’s short film Pidikwe; and through Onishka Productions, continues to champion emerging Indigenous talent.

Across every medium, she insists on one thing: art must ignite change.

***

Marguerite: le feu is one of the 100 new boundary-pushing Canadian productions supported by the National Creation Fund. As a catalyst for bold artistic creation in Canada, the Fund has invested over $15 million in Canadian artists since 2018. The Fund's investment of $140,000 supported several creative residencies, additional dramaturgical research, and ensured the representation and creative contribution of members of the two communities involved in the project.

By Juliana Poli, Community Engagement Facilitator, NAC English Theatre

When we first imagined a community engagement initiative to accompany English Theatre’s production of Trident Moon in April the idea was simple but deeply intentional: to create a sense of hope. 

Trident Moon by Anusree Roy is a raw and moving story of survival, displacement, and perseverance during the Partition of India and Pakistan, one that leaves audiences with full hearts, heavy thoughts, and a need to pause. We knew that offering a “soft landing” after such a powerful experience could be meaningful. Not to explain the story, but to gently affirm that there is always a way forward after hardship. 

With this in mind, we envisioned From Wounds to Blooms: Art as Healing, an art exhibition to remind guests that even after deep wounds, growth and renewal are possible. 

I began with a list of nearly 20 artists and decided to start by inviting one Indian and one Pakistani. Tanya Momi and Salima Hashmi stood out, and to my surprise, both accepted my invitation. 

A profound connection

What I didn’t realise then was how profound their connection already was. 

Salima is a celebrated figure across India and Pakistan. An artist, educator, and peace activist, she has inspired generations, not only through her work but also through the powerful story of her early life. At age five, during her family’s displacement at Partition, her mother placed her on a donkey holding a white flag and led a group of women through a violent area, an act that helped prevent a riot. This story echoed across decades, reaching artists, writers, and ordinary people on both sides of the border. Among those moved by it was Tanya. 

Tanya, an Indian artist who created an entire series on Partition, was so moved by Salima’s experience that she immortalized it in a portrait titled Salima’s Story, a tribute to a woman whose strength had left a lasting mark on her, even though they had never met. 

When Tanya and I finally connected, we had an emotional conversation. She shared stories of her family's challenges during Partition, her father who had lived in Canada for over 40 years and recently passed away, and her belief in art as a way to heal and connect. Then she showed me Salima’s Story, which I hadn’t known existed. In that moment, something clicked. I asked, with quiet wonder, “Is this the same Salima I reached out to for this project?” Our eyes welled up as we realised it was. It felt like the project was meant to be. 

And then came another surprise: when Tanya and Salima finally met one another just a year ago, they discovered their fathers had been close friends, a coincidence so moving it felt almost scripted. 

Featuring works by both artists, From Wounds to Blooms reflected a powerful truth. Even amidst trauma, art can build bridges and imagine a future shaped by understanding. It served its purpose, a soft landing that echoed the journey of the women in Trident Moon, reminding us all that we, too, must keep moving forward, carrying with us the promise of new beginnings. 

It became one of the most meaningful adventures of my life, a personal journey that reminded me of the beauty that lives in connection, in courage, and in shared humanity. Despite the challenges we all face, there is always something to hold onto, something worth walking toward.
 

Thank you
This exhibition would not have been possible without the generosity and trust of both artists, and the support of the English Theatre team and the Props Department, whose care and collaboration helped bring this vision to life. 

When she updated her Will after her husband, Jack, passed away in 1999, she found a way to make a meaningful gift to the NAC by creating an endowment. The first Dorothy M. Horwood Award was made this year to a young cellist, Aidan Fleet, as part of the 2025 NAC Orchestra Bursary Competition

Dorothy’s son Lawrence’s earliest memory is of his mother teaching piano to children in the neighbourhood. All three of her children, John, Wendy and Lawrence, play multiple instruments like piano, cello, saxophone, fiddle, bass guitar and more. They can’t imagine their childhood without music and performances. Her daughter Wendy remembers going with her to the rehearsals of the NAC Orchestra and the National Ballet.  

So none of the children were surprised by Dorothy’s decision to leave a lasting legacy to the NAC through a gift in her Will. Her passion for music extended to her final wish to support young musicians with a bursary.  

Dorothy knew that education was important.  On top of her Bachelor's degree from the University of Toronto, she earned a MSc in Biochemistry, worked in heart research and earned a Ph.D. in Pharmacology at the University of Ottawa. Wendy remembers her mother working on class assignments and her father, Jack, who was a physicist, helping her with calculus.  

And she knew the importance of music. “She didn’t like to see anybody held back in what they wanted to do,” Lawrence says. “She told us about trying to learn the cello and how hard it was to get on the bus and the streetcar in the snow, lugging a heavy instrument. She held a strong memory of that. This award is a way to make sure that succeeding in music is not a struggle for young people.” 

“Giving was ingrained in her,” Wendy says. “It was an integral part of her, just as music was. She was generous with her family, with her children and grandchildren. And she was generous with the causes she supported. She was always looking for ways to give back.”

The Dorothy M. Horwood Award exemplifies that generosity of spirit. Dorothy’s family are happy about the lasting legacy their mother has left.  

“We felt it was a great thing to do – we expected it,” says Lawrence. “We know that she’d be delighted to see the award making a difference in the lives of the next generation of musicians.” 

Musicians like Adian Fleet, who shares, “The NACO bursary competition is a great way to encourage and promote local talent. It is special to share the stage with familiar faces from the National Capital Region music scene and earn prizes that help towards our musical careers. The Dorothy M. Horwood award will allow me to pursue various professional auditions while performing and enriching the musical world as much as possible.”

We are grateful to Dorothy for her legacy gift. If you’re interested in supporting the future of the performing arts in Canada through a gift in your Will, we would be honoured to explore the possibilities with you. We would love to hear from you if this is something that you would like to do. We can help you with the proper wording for your Will, and also let you know how your gift will make a difference. Finally, it gives us the honour of thanking you in person for your generosity and vision. 

Please contact Luke Brown, Specialist, Philanthropy at (613) 295-6656 or luke.brown@nac-cna.ca. 

1998: A spark ignites

The journey began with Maureen Mannix and Adrian Burns, who championed the NAC Gala. Adrian’s leadership as Chair of the Gala Committee helped set a new standard for national celebration. That same year, the NAC launched The Scene, a festival series spotlighting regional artists—laying the groundwork for Alberta Scene in 2005. Calgary’s volunteers and donors began to shape the NAC Foundation’s national vision, planting the seeds for a lasting legacy.

2001–2003: Building bridges

In 2001, Jenny Belzberg joined the NAC Board of Trustees, bringing with her a passion for the arts and education. Under Maestro Pinchas Zukerman, the NAC Orchestra expanded its outreach in Western Canada, while new national learning programs flourished in Alberta schools.

By 2002, Adrian Burns joined the Board of Trustees, later becoming Chair in 2014. That same year, Zukerman and cellist Amanda Forsyth performed pro bono at a Calgary fundraiser for the Calgary Philharmonic Orchestra—an act of solidarity that underscored the NAC’s national spirit. Calgary also became a launchpad for Live Rush™, the NAC’s student discount program.

And in 2003, well-known philanthropist Gail O’Brien joined the NAC Foundation Board, later serving as Chair in 2007. Following her term, she joined the NAC Board of Trustees from 2013 to 2017 and chaired the NAC Foundation’s Creation Campaign—the first national campaign in its history—which launched in 2016.

2005: Alberta takes centre stage

Ann McCaig emerged as a passionate advocate for the arts in Alberta, joining the NAC Foundation Board in 2013.  Her family continues her legacy of support. That year, Alberta Scene brought over 600 artists to the NAC—the largest showcase of Alberta talent ever held outside the province.

2009–2011: Vision and renewal

Karen Prentice brought her governance expertise to the NAC Foundation Board in 2011, after years of dedicated support. Meanwhile, the NAC began planning its architectural renewal—an ambitious project designed to reflect Canadian values of inclusivity, transparency, and connectivity. The NAC Orchestra continued its cross-country residencies, deepening its ties with Alberta communities.

2017: A new era

The NAC reopened with a stunning new entrance, vibrant public spaces, and the iconic Kipnes Lantern—a beacon for the performing arts. As part of Canada 150 celebrations, Calgary creators were featured in new works that celebrated the country’s cultural diversity.

Since opening on November 1, the National Creation Fund has invested in 100 productions across Canada, including Ghost Opera by Calgary’s Old Trout Puppet Workshop, Forgiveness by Arts Club Theatre and Theatre Calgary, and ICONIC+ by Calgary’s National accessArts Theatre.

2024 and beyond: Continuing the legacy

Heather Edwards, a passionate advocate for young Canadian artists, was appointed to the NAC Board of Trustees. That same year, Jenny Belzberg received the prestigious Ramon John Hnatyshyn Award for Voluntarism in the Performing Arts.

Together, these seven remarkable women—Maureen Mannix, Adrian Burns, Jenny Belzberg, Gail O’Brien, Ann McCaig, Karen Prentice, and Heather Edwards—represent more than 75 years of vision, generosity, and leadership. Their legacy continues to shape the NAC and amplify Alberta’s voice on the national stage.

They came together recently with NAC Foundation CEO Juniper Locilento at the Calgary Golf & Country Club to celebrate their collective contributions to the performing arts in Canada.

Taking place on Monday, May 26, 2025, at the Carleton Dominion-Chalmers Centre in downtown Ottawa, the summit celebrates the creativity and lived experiences of disabled, d/Deaf, and neurodivergent artists. Presented in partnership with Music, Sound, and Society in Canada and Carleton University, the day-long event will feature presentations, workshops, accessible music tech in “innovation alley,” and a gala concert.

Joël Dazé, who joined the NAC in March of this year as Accessibility Coordinator, is also helping implement the NAC’s Accessibility Action Plan, drawing on more than 30 years of advocacy and artistic experience to support a more inclusive arts environment.
 

Spotlight on innovation: The Octobox 

At the summit, Joël will present the Octobox and an original composition that bridge music and accessibility.

The Octobox is an innovative digital music instrument activated by light sensors, triggered by flashlight beams. Each sensor corresponds to a musical tone, with sound shaped by a web interface designed for compatibility with adaptive technologies. Originally developed in workshops for Blurring the Boundaries Arts—the non-profit Dazé co-directs—the Octobox promotes hands-on improvisation and can be assembled by participants using everyday materials like cardboard.

He will also perform The Falling Colours of Sol, an improvised composition inspired by synaesthesia, a condition Dazé personally experiences. The piece links musical notes to specific-coloured lights, guiding audiences through a sunset of sound and colour, using the cycle of fifths to create a seamless, multisensory experience.

Through his work at the NAC and his leadership in the Empower Arts Summit, Joël Dazé is helping redefine accessibility in the performing arts—making space for innovation, collaboration, and inclusion at every level.
 

Empower Arts Summit Highlights

The Empower Arts Summit on May 26 is co-organized by Joël Dazé and Professor Ellen Waterman of Carleton University, with support from Blurring the Boundaries, the Canadian Accessible Musical Instruments Network, the International Institute for Critical Studies in Improvisation, and the Research Centre for Music, Sound, and Society in Canada.

The Summit’s daytime program also includes a Maker Challenge that will highlight new accessible instrument designs by engineering students, with winners announced at the event.

A gala concert in the evening will feature powerful performances, including a set by Jesse Stewart, a Carleton University music professor and founder of the WAAM (We Are All Musicians) initiative. The event is fully accessible, with ASL interpretation, described visuals, wheelchair access, and a quiet room.

Our 2025–2026 season is particularly special to me as it will be my eleventh and final as Music Director of Canada’s National Arts Centre Orchestra. To have served you and Canadian music for more than a decade has been the privilege of a lifetime. Working with innumerable Canadian artists through some extraordinarily challenging times has enriched me more than I can express. And as for the remarkable NAC Orchestra: I began my tenure as their greatest fan and leave them with my love and admiration only deepened, profoundly so. 

My two sons were born in Ottawa. They are Canadians. My wife Zoe and I could not be prouder of this fact or more grateful to this country for the lifelong friendships we have forged, for the memories it has gifted us, for the unshakeable generosity of spirit shown to us, and for more than a decade of unforgettable cultural and musical adventure. A part of our spirit will always remain here. 

There is much to enjoy together and to celebrate in the amazing upcoming season, but for now, on behalf of my family, thank you from the bottom of our hearts.

Warmest wishes,

Alexander Shelley
Music Director, National Arts Centre Orchestra

Maria Qamar, a.k.a. @hatecopy, is a first-generation Canadian from a South Asian background, with roots in Bangladeshi and Gujarati upbringing. She arrived in Canada from Pakistan in 2000. After moving to Toronto with her family at the age of nine, art became a means for her to handle the realities of growing up Desi in the early 2000s North American context. She faced relentless bullying and racism in a post 9/11 world and started drawing about these experiences.

Her comic-style illustrations tell the stories of first-generation Desi diaspora with humour and relatability. Her artwork has been shown in the AGO and MOCA in Toronto, Phillips Auction House in Paris, Richard Taittinger Gallery in NYC and the Oxo Tower Wharf in London, England. She also authored a Canadian best-seller which earned her the KOBO Emerging Writers’ Prize for non-fiction humour – Trust No Aunty – a survival guide on dealing with girl-hood, romance, drama and unsolicited advice. She has been featured on NPR, CBC, Vogue, Sotheby’s, Forbes, The New York Times, and starred on the cover of Toronto Life and Elle Canada.
 

How would you describe the work being featured throughout May? 

MQ: My creative approach is putting things into the world that I want to see. And these are the illustrations that I really wanted to see up on a platform like the Kipnes Lantern.

The first piece is from my first solo show in New York, and it was also featured in the Disney+ series Ms. Marvel, which is really fun. It’s called A Good Artist. In the original piece, the woman is saying, “If I can’t be a good daughter, I must be a good artist.” The first image is very much about self-discovery and communication with yourself.

The second illustration I chose is a piece about sisterhood, community, togetherness, seeing yourself in another person and immediately clocking that this is my person. Like you’re my sister. It’s a cultural theme where you don’t have to be related to be your relative.

“The overall theme is about sisterhood, it’s about togetherness and it’s about community, and most importantly, it’s about joy and finding joy in being together.”

Maria Qamar on her work Same to Same

The third piece is about duality, it’s about the differences within yourself. A lot of it has to do with how our people, the immigrant culture, is treated especially in Canada right now. The way we are being talked about online is horrible and it’s awful.

When we first moved to Canada the internet was not like it is now. There was no social media so whatever people were saying they were saying to your face. I thought this was happening just to me. I didn’t know everybody was going through it, which is quite obvious now when you look at the trends on social media. Today, there are real life threats to allowing hate speech. It’s hard to see and it’s even harder to experience. What I aim to do generally through my work is to confront the people that are speaking negatively about the culture.

And with this installation, specifically, the goal is to remind us of the joy and happiness that we bring to each other through our culture, through our music, our food, our dance.

The goal is to take up as much space as possible. As I’ve always done! Let’s take up the space we deserve and that the culture deserves.

What does Asian Heritage Month mean to you, as a South Asian woman and as an artist? 

MQ: As a South Asian woman and as an artist, I think every month is Asian Heritage Month because I celebrate that all the time. It’s the only way I know how to be. I honestly do think this is a really good time to pay close attention to how South Asians are being talked about online – the extremely hurtful and harmful stereotypes about our people. It’s quite literally history repeating itself and you know there has to be some way to recognize that. And as a country we need to pay some respect to the immigrants coming in and really just trying to make a place like our country a better place.

Your illustrations draw from real life. What are the reactions you get from family, friends, the people around you? 

MQ: My work has quotes that were said to me directly or I’ve heard around me. These are not phrases that just come out of the blue. There was a moment in time when I would walk in the room and everybody would just stop saying things because they were afraid of being turned into an installation or an art piece, which was really funny to me!

Billed as a farm to table feast, this multi-weekend event will once again showcase world-class chefs and great live music, from the patio of the National Arts Centre’s 1 Elgin Restaurant, by Ottawa’s gorgeous Rideau Canal. The 2025 Chef’s Table lineup will include some of the region’s most celebrated musical acts, and the respective menus will be curated by the NAC’s Chef Kenton Leier along with several of Canada’s finest chefs.

Thanks to this dynamic partnership between the NAC and the Ontario Festival of Small Halls, The Chef’s Table offers an opportunity for food lovers and music fans alike to celebrate a special occasion with a three-course meal from world-class chefs—or just enjoy reconnecting with friends over food, music, and the beauty of a summer night by the Rideau Canal.

Top talent

This year’s events will take place over three weekends starting July 3, and feature meals created by some of Canada’s top culinary talent working collaboratively with the NAC’s Executive Chef Kenton Leier:

July 3-5: Chefs Kenton Leier and Kris Kurus w/ Musical Guests: The Lionyls

July 10-12: Chefs Kenton Leier and Ian Carswell w/ Musical Guest: Rebecca Noelle

Sept. 4-6: Chefs Kenton Leier and Amy Pelletier w/ Musical Guests: East Coast Experience

See you on the patio at 1 Elgin Restaurant!

To mark this special occasion, around 50 NAC employees gathered on the Babs Asper Theatre stage to perform before the cameras a two-minute choreography signed by Dance Teaching Artist Siôned Watkins. Imagined and conceived for the Kipnes Lantern, Heart Activation is meant to inspire anyone passing by the NAC on April 29, and beautifully illustrates how everyone can dance, and why Dance is simply vital.

“From my experience dance can be healing. I wanted to find interconnectivity through group choreography and team engagement, to share together the joyful intensities of moving to the same beat.” 
– Siôned Watkins

Naturally, this project quickly turned into a team-building experience for employees across 16 different departments at the NAC. They displayed their best dance moves in an incredible spirit of camaraderie. Sofia, the six-year-old special guest, appears in an ever-growing sequence of concentric circles of dancers accompanying her on stage in a celebration of support. This soulful choreography reminds us that we are all interconnected, alive and that our bodies are natural storytellers.

This International Dance Day, we recognize the artists who move us—and move with courage. We honour the audiences who enthusiastically fill the halls, fueled by curiosity and enthusiasm. We applaud the communities who keep dance traditions vibrant and alive, and support the young dancers—just like Sofia—who are beginning to discover their rhythm and who dream of one day telling their own stories on stage.

Since stepping into the role in 2024 after more than 10 years working in the Production Scene Shop, Chad has made it a personal mission to reuse and recycle materials from old theatre sets wherever possible, aligning his goals with the NAC’s broader Environmental Sustainability Action Plan.

Recycling old sets may sound simple, but it’s anything but. Theatre sets are typically built to be strong and lightweight, which often means a lot of glue and fasteners. “Once a show closes, taking them apart cleanly is time-consuming and rarely easy,” Chad explains. The cost of labour to disassemble them properly is another major hurdle, not to mention the lack of a local market for repurposed scenic materials. Still, Chad and his team are finding ways to make it work.

Indigenous Theatre sets repurposed as instrument travel crates for NACO tour

A recent example of this commitment comes from the NAC Orchestra’s upcoming tour of Asia, taking place later this Spring. To prepare for the journey, Chad and Assistant Carpenter Tom Rolfe built two custom cello road cases, entirely from repurposed set materials. They were able to salvage plywood and hardware from large, straight pieces of this season’s Indigenous Theatre production of The Secret to Good Tea. “The crates are solid, functional, and cost-effective. Most importantly, they kept good material out of the landfill. It’s economical and ecological!”

NAC Orchestra Principal Cello Rachel Mercer recently visited the Production Scene Shop after a rehearsal to see the road case that will protect her beloved cello during the upcoming Asia Tour. Chad took the opportunity to take a few measurements to help him customize the inside protective padding. “These cases are very nice,” Rachel told him. “What a great idea to reuse old sets to make these.”  

Building a greener future for the performing arts

The Head Carpenter has also begun to reorganize the Production Scene Shop to make it easier to reuse existing pieces of sets to make frequently-used risers, thus reducing waste and costs. 

These kinds of small victories are quietly contributing to a greener future for the performing arts. While full-scale recycling of theatre sets remains a challenge, Chad believes it’s about making the most of the opportunities that do exist. “The NAC has been doing this for years when we can,” he says. “Now we’re just trying to be a bit more intentional about it.”

With innovative thinking and a sense of purpose, Chad and his team are showing that sustainability and stagecraft can go hand in hand.

Out of eight semi-finalists, jury members selected four finalists to compete at the University of Ottawa’s Freiman Hall on April 23. After thoughtful deliberation, the jury awarded the $9,000 NAC Orchestra Bursary to Audrey Morris, a harp player.

Morris is the first harpist in 15 years to win the competition’s top award. She says she wanted her performance to shine a spotlight on her instrument.

“I wanted to showcase that there’s a lot more you can do with the instrument than just play pretty music. I wanted to show that it can be virtuosic and everything that any other instrument can be.”

Morris is finishing her second year of music studies at the Royal Conservatory of Music in Toronto and says she aspires to play harp professionally in an orchestra.

“It can be really hard as a student. It can be really easy to get discouraged, but this is something that I think will definitely help me in the future and make me feel excited to get back into the practice room.”

Born and raised in Ottawa, Morris studied with local harpists Michelle Gott and Natalie Hoffmann and is currently a student of Judy Loman at the Glenn Gould School.

Bursary, awards, prizes

In total, $28,000 in prizes were awarded this year, thanks to the generosity of NAC Orchestra members, private donors, and supporting organizations. The remaining Bursary prizes, totalling $19,000, were awarded to the other semi-finalists: Bennett Van Barr (violin),  Inès Doulet (violin), Alicia Ingalls (violin), Aidan Fleet (cello), Iñigo Rafael Gauthier-Mamaril (cello), Maria Krstic (violin), as well as an honourable mention to Sarah Als (viola).

In addition to monetary prizes, these young artists experience many benefits, including learning how to prepare for a professional, high-stakes orchestral audition; gaining real-life experience in their career progression; and the opportunity for financial support that will allow them to continue their studies. The Bursary Competition is for emerging artists with ties to the National Capital Region, in a gesture of thanks to NACO’s home community for its continued support.

This year’s jury comprised of Bursary Committee Chair Christina Cameron (non-voting); four NAC Orchestra musicians (Emily Kruspe, upper strings; Marc-André Riberdy, lower strings; Stephanie Morin, winds; Steve van Gulik, brass; and two external judges (Geneviève Petit, violin; and Angela Schwarzkopf, harp).

In 2026, the competition will be open to students of wind instruments, brass, percussion, and timpani.

About the NAC Orchestra Bursary Competition

The National Arts Centre Orchestra Bursary Competition, first held in 1981, aims to encourage the pursuit of excellence from young instrumentalists aspiring to orchestral careers. Each year, a jury identifies deserving recipients through audition and competition.

Members of the NAC Orchestra created the Bursary as a gesture of appreciation to the audiences who supported the Orchestra during its first decade. It provides recognition and financial support to help further develop young musicians with connections to the National Capital Region (NCR).

Funding for the award originally came from two sources: the NAC Orchestra Bursary Fund, created in 1979 by the members of the National Arts Centre Orchestra, and from the NAC Orchestra Trust (originally the Capital Trust founded in 1932 to benefit the Ottawa Philharmonic Society which, on its demise in 1970, transferred the income to the NAC). The Fund is now known as the NAC Orchestra Trust Fund. In 1981, one prize of $1,000—the NAC Orchestra Bursary—was awarded. In subsequent years, the Fund has grown, thanks to the generosity of private organizations and individuals, and prizes now total $28,000.

Have you seen the news? The word is out!  

Over the past week, two of English Theatre’s productions for 2025-2026 season have been announced by our co-producing partners in Toronto, Tarragon Theatre and Soulpepper Theatre Company. Both of these exciting new works are set to make their world premieres at the NAC next season, under the direction of English Theatre Artistic Director Nina Lee Aquino.

Copperbelt

Copperbelt by Natasha Mumba, a co-production with Soulpepper, is a politically charged drama about a young woman who has left her wealthy Zambian mining family to build an independent life for herself in Toronto. But when her estranged father falls ill, she is forced to return home to the Copperbelt and confront the very problems she has been trying to escape.

Ms. Aquino has shepherded the development of this gripping psychological thriller dating back to her artistic directorship at Factory Theatre, prior to her arrival at the NAC. As part of this process, the script received a workshop and acclaimed public reading at Canadian Stage’s Festival of New Theatre in 2024. The play then underwent its final dialect, translation, and movement workshop in Lusaka, Zambia in January of this year.

cicadas 

cicadas is created by David Yee and Chris Thornborrow and will be co-produced with Tarragon Theatre. A decade after the Trinity Bellwoods Collapse, an investigation into the mysterious disappearance of a young girl leads to a very peculiar house that has sunk into the earth. This haunting and immersive eco-thriller is fully scored with live music, illuminating our profound connection to nature without laying blame.

An early, shorter version of cicadas was first developed for English Theatre’s Irresistible Neighbourhoods series, and presented in September 2024 as a live radio play, part of the NAC SPHERE Festival. 

Two world premieres in store for NAC English Theatre audiences in 2025-2026 season

“This is a defining moment for NAC English Theatre.” said Ms. Aquino. “For the first time in memory, we are premiering large-scale, new works in Ottawa. Bringing two world premieres to life is an incredible opportunity for NAC English Theatre, our artists and, importantly, our audiences, who are eager for fresh, thrilling stories. Partnering with top-tier theatre companies and leading artists in Toronto helps us to expand the reach and impact of these productions and adds a jolt of the creative energy that makes theatre so electrifying. This marks an important step forward for us, and I can’t wait for audiences in both Ottawa and Toronto to experience them.” 

What else is in store for 2025-2026? That’s a secret for now! The full English Theatre lineup will be announced when the NAC launches its entire season of theatre, dance and music in the coming weeks. Keep your eyes and ears ready for the announcements.  

This is the fourth consecutive year that Marie-Ève Fontaine, who is also the NAC French Theatre’s artist in residence this season, has led these workshops. Two years ago, the dynamic Franco-Manitoban visited Omer-Deslauriers School in Ottawa (Nepean sector) to work with a class of newcomers, a diverse group of 12- to 14-year-olds who had recently arrived in Canada, most of whom had started learning French only a few months before the activity. More about this story can be found here.

In collaboration with Arts Alive, this initiative is part of the NAC’s mission to engage children, youth and families in the arts, and it supports the primary objective of the Culture au cube (“Culture cubed”) program at Grande-Rivière high school in Gatineau (Aylmer sector): “to immerse students in a world where culture becomes a living, breathing journey, where every turn reveals a new horizon of exploration, creativity and appreciation.”

L’école à l’œuvre – Video project (2024–25 edition)

For the latest edition of L’école à l’œuvre, Marie-Ève had the great pleasure of working with Ms. Julie Paquette’s Secondary I students at Grande-Rivière. During this creative experience, the students learned how to use drawings, paper puppets and shadow theatre techniques to create a music video for a song by an emerging Franco-Canadian music artist.

Watch the clip on YouTube

The featured music artist was Sylvie Boulianne, who hails from Clare, on Baie Sainte-Marie in southwestern Nova Scotia. She studied classical music at the Université de Moncton before moving to Montréal, where she wrote the songs on her debut EP, Desfois c’est moi, an album “born from a fusion of traditional Acadian music, folk and pop. With lyrics that immerse you in resilience, self-discovery and the twists and turns of love, each song resonates with something both joyful and melancholy.” [link] Sylvie’s music reflects not only her talent, but also her deep connection to her roots, the natural beauty of her coastal village, and the rich tapestry of cultural influences that have shaped her artistic voice. Her art is a moving testament to her journey, a harmonious blend of tradition and creativity that touches the soul and conveys the spirit of a passionate artist ready to share that spirit with the world.

The songs on Desfois c’est moi include “Montréulogy,” “Radersses-toi,” “Hey Joseph,” and the title track that inspired Marie-Ève’s work with the Grande-Rivière students. Discussion questions for the students included:

• What’s the song about?
• What do you know about Baie Sainte-Marie, or Nova Scotia?
• Did you know that there are French-speaking people there? Do you know the history of the Acadians?
• Can you understand all the lyrics? How is the singer’s accent different from yours? Why do you think the speech in that part of the country is different from how we speak in the Outaouais?

Mon tchoeur dit pu rionne
Chepoint d’ayou je d’vonne
Le ciel, la tarre, pi l’eau d’la mar
Le vent mélange tout ça
Le vent mélange tout ça
Le vent mélange tout ça
Pi la chaleur me reviendra
– Excerpt from “Desfois c’est moi”

The series of six workshops were an invitation to connect with others while delving deep within oneself, and enabled this fine group of neophytes to illustrate Sylvie Boulianne’s message by capturing and expressing its colour and originality. The children analyzed the song lyrics and developed a storyboard together with Marie-Ève, whose task it was to find a common thread linking all the images proposed by the students. The various elements of the video, from the puppets to the backgrounds, were all created and manipulated by the students during the filming.

“When you watch the clip, you can see the hard work and dedication we put into this project, and I’m proud to know that we did it as a team… . I learned a few things about angles and cameras. It’s never easy to find a good angle; I do photography as a hobby, and it helped me a lot.”

Margot

The teacher was as thrilled as her pupils with the project: “The discussions, the brainstorming in large groups, the creative sessions, the practice for the filming and, of course, the filming itself: they told me they really appreciated that their ideas were valued…. It was a highlight for them and for me…. Believe me, there’s no better feeling than seeing that sparkle in my students’ eyes.”

Another student reported that the experience “made me feel proud, because it’s not every day you get to produce a video for such an experienced singer…. I learned some really useful filming techniques that my brother and I will be able to use to make a more ‘professional’ film.” (Alexandre)

Naturally, the NAC is equally enthusiastic. And while Francophonie Month may be coming to an end, it’s important to remember that it’s vital for us to promote French throughout the year. In fact, we’re already working on the 2025–26 edition of L’école à l’œuvre, so stay tuned for all the details of the next instalment of this rewarding adventure!

Canadian artistic creation is fiercely alive.  

These 100 productions represent the thousands of companies, artists, and communities across this country who continue to create despite innumerable challenges. Who understand that creation is a force of joy and resistance. Whose dedication to offering their wildest dreams to our communities is breathtaking. The National Creation Fund is our gift to these artists, and the audiences who cherish them. 

The Fund is possible thanks to a group of Canadian philanthropists who recognize that artists taking big artistic risks are a critical contribution to our national culture and society. Thank you for breathing life into the Fund’s emergent curatorial model and helping us activate investment as a practice, not a destination.  

As Sarah Garton Stanley, the Fund’s previous Artistic Producer, said to me recently: “When Canadians invest in the creation of significant and dazzling work of their fellow Canadians, our national magnificence resonates both at home and globally.” Canada lives through the stories we tell—and new stories, new ideas, and new dreams, supported by Canadians, are required to meet this moment. 

Perhaps you have glimpsed these new dreams, like: Salesman in China at the Stratford Festival, Mahabharata at the Barbican, Nigamon / Tunai at the Festival TransAmeriques, Surveillée et punie at the National Arts Centre, Revisor at DanceHouse, and The Storyville Mosquito or Murmuration in literally every corner of the globe. 

Each new creation ripples through our communities as forces of worldbuilding and innovation, with concrete impact.

Technologies developed through Fund-supported creation processes are being used in ecological remediation and are putting artists in critical conversations around the development of AI.

In other Fund-supported productions, artistic creation allowed communities to keep their languages alive and preserve oral histories that have been almost entirely eradicated.  

Creation processes have allowed people on opposites sides of the political spectrum to have generative conversations and have built circumpolar relationships. This is the power of creation.  

Heather Moore, the Fund’s inaugural Executive Producer, reminded me of where we started: “It was a bold proposition in 2017—rather than making do or rushing work to the stage, artists could have the time and resources they need to fully develop ambitious and innovative new work.  I am so proud that the Fund has filled that creation gap for 100 new productions presented across Canada and around the world, and is inspiring the next generation of artists to take their creations to a whole new level.” 

This work—our collective work—sustains us. And continues to shine forth. 

Which is why I’m so excited to announce our 100th investment: Empire of Wild!

Empire of Wild is an Indigenous-led opera commissioned by the Canadian Opera Company and co-produced by the National Arts Centre Orchestra and Indigenous Theatre. The opera is based on Cherie Dimaline’s best-selling novel, and led by the glorious triumvirate of composer Ian Cusson, librettist Cherie Dimaline, and director Yvette Nolan. Set in the Georgian Bay Métis community, Ian and Cherie’s hometown, it’s a love story about a hunger for power. 

As Ian shares: 

“It is so rare for opera to be conceived in and for community. This investment allows us to make large-scale opera in a new and different way—one that positions the community at the heart of the work throughout its creation process. The Georgian Bay Métis community has been telling our stories for nearly 200 years. To get to share one of these stories with a whole new audience and in a whole new way is a dream come true.” 

We’re so proud to support Ian, Cherie, Yvette and the whole team, and to offer an investment of $200,000 towards a collaborative, community-driven Indigenized creation process that honours and centres the perspectives of the Metis and broader Indigenous communities.  

Now, let’s return to you.

Can you dare to fall in love with these beautiful dreams with us? It is so painful right now, just way too much. And yet. Can I dare to ask… Can you allow this beauty and community to fan the hope and perseverance in your heart, and perhaps even imagine your own dreams for your life and for our world coming true?  

Thank you for being here with us. In a time when increasing precarity encourages artists and presenters (let’s be real: every single one of us) to think small, let’s seek to hold space for risk and dreams across Canada and beyond. 

And a deep thank you to all the people who have brought us here: artists and companies who have sent us proposals, our donors, our curatorial teams, our national advisory committee, our NAC colleagues, and our amazing Fund team, all past and present. We don’t take any of you, our community, for granted.  

The Fund gives artists the time, space and resources they need to bring their dreams to life and see them shine on national and international stages. Fuelled by donors, the Fund contributes to the country’s cultural vitality by bringing artists and audiences together around bold and innovative performances.

Since making its first investment in 2018, the Fund has supported more than 3,100 artists and invested more than $15 million in major performing arts productions that have been successful both here and abroad.

We met with the Fund’s Artistic Producer, Sarah Conn, to talk about the early days of the Fund, its mission, and the importance of the team’s work.

What sparked the creation of the Fund?

Sarah Conn: It started with a bold question: how could the NAC be a game-changer for Canadian performance creation? What might happen if Canadian artists had the resources to pursue their wildest dreams?

Resources like time and space are often scarce in the performing arts, and that impacts what artists can create. After speaking with communities across the country, it became clear that this was an area the NAC was uniquely positioned to address: the gap between the resources that make a show possible and the resources that make a show incredible. And to do that, we knew we’d have to raise the kind of venture capital, or risk capital, that really hasn’t existed in the performing arts in Canada. And so, following the NAC’s first fundraising campaign, the Fund was born!

Peter Herrndorf, the former NAC President and CEO, has a great quote about those early ambitions: “We want to change the ecosystem of creation in this country so that performing artists can create new work that achieves its potential, resonates with audiences, and can be presented widely beyond its premiere. We want to help our performing artists create brilliant new work that will triumph on the national and international stage.” I think those goals remain true today, and I’m so proud to say that the artists we’ve had the honour of supporting are indeed triumphing across the country and beyond!

What makes the NAC’s National Creation Fund unique? 

S. C.: As our tag line says: “We fund risk.” Artistic creation is inherently risky, bringing together creative and logistical ingredients in entirely new ways. The Fund exists between traditional arts funding, angel investing, co-producing, commissioning, and risk capital. We take on part of artistic creation’s risk by making some of the largest financial investments in the country. And our backing goes beyond money: it includes guidance, resources, and a support network that enables artists to fully realize their creative potential. For example, we just launched Critical Friends, a new initiative that pairs each company with a leading international artist or producer who becomes an outside eye on the creation, and our Creative Producer Fellowship is an accelerator for the next generation of game-changing producers.

As one of the few supporters of works of scale, we think strategically with artists about what their work needs to reach its full potential. It’s a deeply relational process that allows the artists to create a performance that might be otherwise unattainable. We love ambition and big dreams! We believe that high-impact, high-input investing is critical to developing the culture audiences and artists dream of.

How is the National Creation Fund evolving and moving forward?

S.C.: So much has changed since we first started, including how artists create, how audiences engage, and, let’s be honest, how the world feels right now. As a form of artistic creation itself, the Fund continues to evolve and grow too. We’re becoming more interdisciplinary, and we’re now working with curators across the country. We’re also deeply engaged in accessibility. With the support of our incredible disability curators, we’re building a new model for the curation of large-scale disability-led performance and we’re experimenting with new ways to support artists of all abilities in creating more accessible processes and performances. And, in partnership with the Centre for Sustainable Practice in the Arts, Écoscéno, and the Conseil québécois des événements écoresponsables, we’re developing creation processes that are ambitious not only artistically, but also in how they support the well-being of our planet.

Looking forward, I’m excited to go further in carving out vital space for risk and imagination across Canada and beyond. I’m curious about how we can continue to build relationships between artistic creation and communities across Canada. And I’m passionate about supporting the creation of new Canadian stories. Canada lives through the stories we tell – and new stories, new ideas, and new dreams are required to meet this moment. We need stories that tell the world who we are. The Fund is a chance for Canadians from coast to coast to coast to invest in our own culture, and in the new ambitious stories that will become beacons on national and international stages.

In this panel, Climate Dramaturg Vicki Stroich (Caravan Farm Theatre), Metcalf Fellow on Arts and Society David Maggs, and NAC English Theatre’s Judi Pearl discuss their emergent, research-based approach to working with artists around themes of climate and sustainability. With Irresistible Neighbourhoods as the primary case study, this talk will explore the conceptual framework underpinning the project, and how the process aims to guide artists away from didactic imperatives and towards more imaginative storytelling, with the ultimate goal of cultivating a sense of belonging for audiences in worlds we are yet to inhabit.

Moderated by Nina Lee Aquino.

Before the show’s arrival in Ottawa, Rose-Ingrid Benjamin, NAC Senior Engagement Strategist, Community & Partnerships chatted with Cherissa Richards, Director of Controlled Damage and spoke about not only Viola’s impact on future generations, but Cherissa's history in theatre, her experiences as an artist and the importance of Black women in positions of leadership.

Read more from Cherissa and playwright Andrea Scott in the program notes from Controlled Damage.

An inspiring week in Wales

Women and non-binary music producers from Argentina, Sweden, Estonia, Wales, and Canada met in Wales in August 2024 for an inspiring week of knowledge sharing and networking activities as part of the program.

“Creating opportunities for under-represented artists and creators that provide greater access to the tools, networks, resources, and fellow artists that they need to succeed is at the heart of the Global Network. Bringing this group of talented women together during the week in Wales, to create and inspire each other was critical to their growth as producers.”

—Heather Gibson, Executive Producer, Popular Music & Variety, Canada’s National Arts Centre

Music credits

Music: Wondering Losing
Remix of Rhiannon Thomas singing Crwydro, Colli
Produced by Katharine Fountain, Brenley MacEchern, Karin Turesson, Mica Hourbeigt

BIG BANG is not just about great shows for young people, it is about truly creating an engaging experience for the kids from the moment they walk in the door. The rainbow of ribbons and wacky installations reminds the public that even the youngest members of our community are valued here.

From beautiful bird cages to singing plants to interactive keyboards bringing unexpected sounds, year after year Mélanie has been able to source incredible programming that captures the imagination of the young and young at heart. There is no joy quite like following a brass band parading through the NAC while young kids dance around with huge smiles.

Mélanie’s impact spans beyond the tens of thousands of people who have enjoyed the events she has curated for the festival over the last seven years. There are artists whose work has since toured to other BIG BANG Festivals in Europe after success here at the NAC. And countless young people have been inspired to engage with artistic experiences after participating in the event as BIG BANG Ambassadors. The success has inspired others and led to BIG BANG festivals springing up elsewhere in Canada (Vancouver and Quebec City.)

Mélanie’s artistic tenure at the NAC may have come to a close after years at the helm of French Theatre’s children’s programming and curating for BIG BANG Ottawa, but her impact here will most certainly live on. We wish Mélanie all the success as she embarks on a new project developing her own festival (La mèche courte) in Montreal to delight young audiences.

Fortunately, BIG BANG Ottawa is in safe hands with Amélie Bergeron set to curate the next festival. We can’t wait to see what she has in store for us in 2026!

The selection of artists is curated by Xavier Forget, a producer for Popular Music & Variety and the program’s creator. He focuses on individuals that have some level of experience and would benefit most from the program. These artists are already active in the music scene and are seeking to enhance their live performance. The program aims to provide them with an external perspective that critically examines every aspect of their live shows. Professionals with discerning eyes can identify areas for refinement and offer valuable guidance to enhance the overall quality of the performance. Once the artist is selected, a mentor is assigned to work with them and together they determine the date and location for the sessions, which typically lasts for three days. The experience culminates in a live performance at that venue.

Each participant is matched with a mentor of their choosing or one suggested by Xavier. This selection of a mentor is a crucial component of the experience. The mentors are accomplished musicians and singer-songwriters, many of whom have backgrounds in directing or education. Mentors leverage their personal experiences to offer invaluable guidance and support to emerging talent.

Supporting francophone talent across the country

The mission is to support francophone artists often face isolation given the industry in some provinces and territories is less robust for francophones. These artists are entrepreneurs in their own right. Geographical isolation is a significant challenge for them, as this is an emerging industry. The NAC is committed to discovering and nurturing francophone talent from across the country, including Acadian, Ontario, and Western Canadian artists.

In the world of artistry, perception plays a pivotal role. The program, which launched in 2021, has shown remarkable shifts in how artists are viewed, often within just three days. Participants report a boost in confidence and professionalism, leading to increased bookings.

While residencies primarily take place at the NAC Fourth Stage, they have also been held in other professional venues, providing artists with diverse opportunities to refine their craft in smaller cities and towns. Notable locations include Centre culturel franco-manitobain in Winnipeg, and Centre Culturel de Caraquet in New Brunswick. To date, the program has featured talented artists such as Baie, Mimi O’Bonsawin, Céleste Lévis, Kimya, Kelly Bado, Yao, Simon Daniel, Cristian de la Luna, Beau Nectar, Ponteix, and we are excited to welcome Étienne Fletcher in the upcoming session!

Artists share impact of Le Projecteur

Le Projecteur mentor Gaële:

“Le Projecteur is a wonderful initiative by Xavier Forget that’s intended to help singers with various aspects of their profession, particularly the creation and/or consolidation of their performance, and also to strengthen their artistic approach and musical style. Over the years, thanks to the NAC’s residency system (both in-house and in other provinces) and the participation of experienced mentors, we’ve been able to help a large number of artists with both the artistic side of their profession and the more business-related side.

“What’s also incredible about this project are the highly professional working conditions and the duration of the support provided (rehearsals in a theatre, technicians, promotional video, press photos, mentoring, etc.). The residencies and the follow-up over several months allow the artists to work intensively and with complete confidence.

“I’ve been fortunate enough to have had the opportunity to mentor several artists myself. This has allowed me to better understand the challenges of the profession in the different provinces and to act as a bridge between the artists and their mentors. It's an extraordinary project, very useful and necessary for the artistic community, and I’m very proud to be a part of it.” 

Le Projecteur participant Mimi O’Bonsawin:

“Participating in Le Projecteur had a huge impact on my work, my craft & my career. I really appreciated Gaële’s professionalism and precise advice. She is the real deal! She helped me own my power on stage so that I can provide my very best show to audiences. For me, being on stage is about inviting people into my universe & sharing my heart so that audiences can be right there with us. She helped me hone that and gave me skills to carry forward.

“I am so grateful to have had this opportunity, as it has been instrumental in elevating our show. It was so important for us to have an outside opinion on our show, and to have the time to work on that in a professional environment was a real gift. I have so much love and respect for Xavier, Gaële and the crew... And will always encourage other artists to participate in projects like this when they can.”

It has been nearly a decade since Mique Michelle created Tissage Franco, on display all month on the lantern. We caught up with the Franco-Ontarian to hear about her artistic adventures since then and the importance of Francophonie to drive art and culture.

Q: The theme of this year’s Francophonie month is “Cultivate your roots.” Why do you think it’s important to cultivate your roots?

Mique Michelle: To preserve our identity, our regionalism and our culture. To paint a true picture of the Francophonie, the worldwide Francophonie, French culture, as well as the Francophonie in Canada and in Ontario.

My regionalism celebrates my native fauna, my experiences, my colours and my knowledge. It is valid. My Francophonie has its place.

We all have the right to an education in our language, to health care services that we can also receive at home.

There’s no room here for linguistic insecurity.

Your roots contribute to your excellence if you can celebrate them.

Q: How do you think the Francophonie contributes to arts and culture in Canada and around the world?

M.M.: French is a rebellious language here in Ontario; it was even illegal in the classroom for a while because of Regulation 17 (Editor’s note: which prohibited the use of French in schools attended by Franco-Ontarian students.) But l’École de la Resistance has been able to create a culture in which we assert our rights and defend and celebrate our identity, our identities and our regionalisms.

My Francophonie has always included and prioritized the arts, theatre, the stage. Yes, as tools to bring us together, but also to preserve our traditions and to integrate our hybrid identities.

Q: Why is graffiti your favourite form of artistic expression?

M.M.: Hip hop and its elements, like breaking, DJs, MCs (slam poets) and graffiti, ensure that we all have a seat at the table, especially when it comes to decisions about our rights.

Graffiti is by the public and for the public, and you can look at it for free… And it’s also a way of making sure that everyone has access to information. With graffiti, if you have something to say, a message to get across, there are tools for you!

Presented from March 27 to 29 at the Aréna Stade-Pierre-Lafontaine in collaboration with Ville de Gatineau, Murmuration was developed with the support of the National Creation Fund. We had the chance to exchange with choreographer Alexandre Hamel about the creative process

Can you tell us a bit about the creative world of Le Patin Libre?

Our founding artists have a background in what’s usually called “artistic” skating, the kind you see at the Olympics. In 2005, I was early in my career as a competitive and then professional skater, most notably with Disney On Ice. I founded LPL as a reappropriation of my athletic virtuosity, with the aim of turning it into an experimental, expressive artistic form free from commercial constraints. While studying for my Bachelor of Fine Arts degree, I had a transformative encounter with circus and contemporary dance, and that’s what inspired the shift. From 2005 to 2014, my colleagues and I laid the theoretical and practical foundations of a contemporary skating style. Those experiments mainly took the form of performances at winter carnivals and various “underground” events in Montréal. We also did long research residencies.

Like contemporary artists in all disciplines, we decided to focus on the unique features of our medium: gliding. All our experiments and creations started from that basis. We avoided the imitations and pastiches so prevalent in “artistic” skating. Among other things, we knew that in order to be considered legitimate on the contemporary artistic scene, we had to avoid at all costs another “On Ice” version of contemporary dance. We had to be new and distinctive, and take full advantage the unique characteristics of our medium: speed, trajectory, the superhuman relationship to space, etc.

The artistic community reacted with justifiable apprehension, given the stereotypes associated with skating, and our distance from conventional forms of contemporary dance.

Our attitude and commitment to skating haven’t changed. We’re happy exploring this seemingly inexhaustible medium.

Can you tell us about the process of creating Murmuration?

The project began with the aim of creating the first real stage representation of murmuration, a phenomenon observed in schools of fish and flocks of birds. Not surprisingly, several choreographers and directors have been inspired by it. They have imitated it with great beauty, but they’ve never been able truly to capture it. On the scale achievable in the performing arts, murmuration can only work with fluid movement. It’s all about scale and the spatial relationships between the size of the individual, their speed, the size of the group, the distance from the viewer, etc. The brain has to lose count for it to work. Gliding makes that possible. So, gliding! Still and always.

From my first experiences on skates, I was blown away by the visual effect of fast, fluid skaters on a huge sheet of ice. As a performer, I experienced an intense adrenaline rush in the midst of the moving group. Speed brings danger and a heightened state that demands total connection with the group. It seemed like fertile ground for a choreographic project.

We manipulated this image extensively. We understood how it worked algorithmically, then we created different choreographic structures that worked in a similar way. The images built up, overlapped and intertwined to create the small epic of a large ensemble that the finished show presents.

How did you become interested in flocks of birds?

I’ve been obsessed with murmurations of birds since I was a child, and I’ve passed the bug on to my colleagues. Flocks of birds create shapes of breathtaking beauty and absolute mathematical perfection. And I’ve long known that our movements on the ice, because of their fluidity, resemble the flight of birds. But I didn’t have the means to create such a show. There are five of us founders and we felt it could work, but to create a powerful visual effect we needed 15 skaters.

What role did the support of the National Creation Fund play in the production of Murmuration?

We finally had the resources to put together a large ensemble. We held auditions in six countries and brought together maverick skaters from all over the world. We were looking not only for athletic virtuosos, but also for free spirits willing to embrace the adventure of touring and artistic creation off the beaten track. We were looking for people who instinctively understood murmuration.

The Fund’s support enabled us to organize the long and costly creative residencies that allowed this new company to create the show. That support was key. Without the Fund, Murmuration would never have happened.

Has this support changed the way you work?

From a small company of five founding skater–artists, we’ve become a large ballet company. 

This means that we’re now better able to share our new techniques and ideas with performers for whom the Patin Libre adventure is completely new. We’ve had to develop a teaching method, and meticulously organize our creative and rehearsal sessions.

The management of the company has also become much more demanding. We have a full-time general manager, but many tasks are still carried out by some of our founding choreographers and skaters.

We used to say to each other, “OK, see you in London next week. Bye!” Now we have to organize transportation, hotels, remuneration and logistics for a big company. It’s a huge amount of work.

Sadly, companies of our generation no longer have the resources to sustain large-scale ballets, so the Murmuration experience is coming to an end. It will have been a shooting star... The greatest artistic adventure of my life!

You’ll be presenting Murmuration at the Stade-Pierre-Lafontaine Arena in Gatineau. Why is it important for you to reach an audience outside traditional venues, to present in a different way?

It’s necessary.

We’re experiencing a dangerous acceleration of social polarization. In this context, we really want to reach an audience that doesn’t go to downtown theatres, which are often perceived as reserved for a certain elite. This knowledgeable audience is generous and adventurous, and they come to see us at the arena because they trust the artistic direction of the theatres and festivals that invite us. The wonderful thing is that when enough tickets are sold, new people join the cultural regulars because they like skating and the arena, as well as our company’s friendly image. We’ve never aspired to the highbrow, prestige image often associated with contemporary dance. On the contrary...

These families, who are new to the experience and see us as an affordable and uplifting alternative to Disney On Ice, make up an enthusiastic and vibrant audience that we love. It touches me deeply, because my family would have been part of that audience when I was growing up. We lived in the suburbs and didn’t go to the theatre. But we did go to the arena and skating shows! Murmuration would have changed my life...

At LPL, we love that people from different backgrounds come together to see our art. Especially Murmuration, which is ultimately an epic about harmony, polarization, war and peace. You can’t just deal with these issues within your own little privileged cultural clique; you have to invite other people in, otherwise your whole effort becomes ridiculous.

As we celebrate Francophonie Month, can you tell us what it means to you to be a Francophone company with an international reputation?

I find it difficult to reflect on these questions, important as they are. In the absence of the long-term support usually given to major virtuoso ballet works, my company has been in survival mode since Murmuration started touring extensively abroad. Between rehearsals, constant travelling, 100 performances a year and eight hours a day in the office, I can barely consider such important issues or even really grasp what we represent.

When we first met, Louise was studying classical piano having graduated from the prestigious High School of Performing Arts in New York City. After we married, when I started Treble Clef, Louise was right there with me. Even when she wasn’t working in the stores or directly involved in various businesses I had going while we were raising our children, she was the sounding board I trusted most. Her opinions and thoughts always mattered to me. She was a smart and creative woman.  

During the days when we were involved with Le Hibou Coffee House, you would often see Louise helping serve coffee and hot chocolate. Her support was there from the very beginning in any way she could give it. In the sixties and seventies we were presenting many concerts in the Ottawa area. Those were the days when the artists would often end up at our home for a visit, a meal, or a party held in their honour. Some even stayed over.  

Louise was a gracious and giving host. We welcomed folks like Judy Collins, Ian and Sylvia, Dave Brubeck, Supertramp and Pete Seeger whom Louise particularly remembered because he helped clear the table. When Joni Mitchell was at the house, she offered Louise some of her sketches. We were fortunate to get to know many of the artists we presented in concert on a personal level.  

As time went along, I began helping emerging talent in Ottawa. I supported the early endeavours of local artists by managing, or just being there to mentor when they needed career advice. I would almost always call upon Louise for her thoughts. I can’t begin to think of how many demo tapes I made her listen to. Even though her roots were strongly planted in the classical music world, she could recognize talent in nearly any genre and I trusted her instincts.  

Over the years we were fortunate to be in a position to help support a variety of causes and special projects that helped musically enrich the lives of people of all ages. Giving young people opportunities to explore the world of music was very close to our hearts, so we supported National Arts Centre programs such as the Summer Music Institute, Musical Adventures in My School and local organizations like Orkidstra.  We were blessed to be able to help change lives for the better.  

In the 1990’s I began to experience severe hearing loss. Louise and I, knowing how much it impacted our lives, had no hesitation to get behind the installation of the assistive listening technology at the NAC so those with hearing loss could attend and enjoy their concert-going experiences. And it was our love of music and local pride that inspired us to help make possible the Pinchas Zukerman recordings with the NAC Orchestra and sponsor concerts for the Ottawa Chamber Music Festival from time to time.  

When Christopher Deacon, the NAC’s President and CEO, first mentioned that he was looking for help to purchase the NAC’s new Steinway, our family all agreed that it would be a beautiful way to honour Louise’s memory.  

She was an exceptionally talented musician and we were delighted to find a way to keep her legacy alive.  

The NAC’s new Steinway Model-D (Hamburg) Concert Grand Piano was selected by pianist Gabriela Montero. It made its debut on the Southam Hall stage in the spring and will delight many outstanding visiting artists and their audiences in the years to come. Thank you Harvey Glatt and family for this wonderful tribute to Louise! 

Would you like to tell us why you support the performing arts for a chance to be featured in Full Circle? If so, please contact us by phone at 343 588-1340 or by email at donorscircle@nac-cna.ca  

The 2025 Governor General’s Performing Arts Awards (GGPAA) for Lifetime Artistic Achievement recognize artists who have made an indelible contribution to cultural life in Canada and around the world. Be there on June 14 as the laureates are honoured at the GGPAA Evening at the National Arts Centre!

Meet the 2025 laureates

Bob Ezrin, O.C. – Music and entertainment producer, music education advocate and serial activist

In a legendary career as a music and entertainment producer and entrepreneur, Bob Ezrin has worked around the world on recordings, TV, film, and live event production with such prominent international artists as Pink Floyd, U2, Deep Purple, Peter Gabriel, Rod Stewart, Andrea Bocelli, Taylor Swift, Alice Cooper, Edward Burtynsky, Kiss, Lou Reed, The Canadian Tenors, Aerosmith, Hollywood Vampires, Berlin, and Nine Inch Nails, among many others. One of the most highly respected and sought-after producers in the world, he is also a generous philanthropist and a passionate advocate for music education.

Denis Gougeon – Composer

A prolific and versatile composer, Denis Gougeon is a prominent and influential figure on the contemporary classical music scene in Canada and internationally. The Canadian Music Centre has described his music as “at once accessible, dynamic, forceful and highly melodic.” Passionate about his craft, he is highly respected and trusted in the music community. With over 120 works to his credit—including music for solo instruments, chamber groups, orchestra, young audiences, voice, theatre, ballet, and opera—, he is one of Canada’s most widely recognized composers.

Graham Greene, C.M. – Actor

Graham Greene is one of the most respected actors of his generation. In a career spanning over five decades, he has worked on stage and in film and television productions in Canada, the United States, the United Kingdom, and Argentina, in roles ranging from police officers to judges, doctors, lawyers, and a Shakespearean antagonist. An accomplished character actor of uncommon intensity, he has served as a role model for countless aspiring performing artists.

Patrick Huard – Comedian, film and television actor, host, screenwriter and producer

Patrick Huard is a dynamic and versatile artist who has enjoyed great success in film and on television, stage and radio. One of Quebec and Canada’s most recognizable stars, he has appeared in many of the most successful Canadian films (notably the beer-league hockey story Les Boys, the bilingual comedy Bon Cop, Bad Cop, and their respective sequels) and Quebec television series. He has hosted several radio programs and prestigious award galas, and has received numerous acting and screenwriting awards.

Sandra Laronde – Multidisciplinary artist, artistic director, choreographer, producer and author

Sandra Laronde is a highly accomplished arts innovator, multidisciplinary artist, and visionary leader, recognized across Canada and internationally for her exceptional work in bringing Indigenous arts to the forefront. She is the founding artistic director of Red Sky Performance, Canada’s leading contemporary Indigenous performance company. Renowned for its powerful storytelling and hybrid innovation in dance, theatre, music, and multimedia, her practice reflects a deep commitment to exploration and experimentation. Her inexhaustible energy extends to cultural diplomacy, forging stronger ties by representing Canada on prestigious global stages and at influential international events.

The Ramon John Hnatyshyn Award for Voluntarism in the Performing Arts

The Ramon John Hnatyshyn Award for Voluntarism in the Performing Arts recognizes outstanding contribution by an individual or group in voluntary service to the performing arts in Canada.

April Hubbard

April Hubbard is a Halifax-based performance artist, arts administrator, and Mad Disability advocate. Active in the cultural community for over 20 years, particularly through her association with the Halifax Fringe Festival, she is a passionate arts supporter and an outspoken advocate whose focus is to create inclusive and accessible spaces for disabled and underrepresented artists, and to empower disabled people to discover and celebrate their creativity.

The National Arts Centre Award

The National Arts Centre Award recognizes work of an extraordinary nature by an individual artist or company in the past performance year.

Jeremy Dutcher – Composer, performer, language carrier, musicologist and activist

Jeremy Dutcher is a Two-Spirit composer, ethnomusicologist, and classically trained tenor, and a Wolastoqiyik member of the Tobique First Nation in northwest New Brunswick. His music transcends boundaries: it is deliberately playful in its incorporation of classical elements, respectful of the traditional songs of his community, and infused with the urgency of modern-day resistance. Through his music, he seeks to preserve Wolastoqiyik culture and inspire Indigenous youth to appreciate the importance of language and heritage.

Mentorship Program

The unique Mentorship Program, generously supported by The Keg Spirit Foundation, provides a way for past GGPAA recipients to inspire the next generation by offering guidance to talented Canadian artists in mid-career. The participants for 2025 are Atom Egoyan and Joshua Odjick.

Atom Egoyan, C.C. – Mentor

Atom Egoyan is one of Canada’s most respected and influential filmmakers. His body of work—which also includes theatre, opera, and visual art—explores issues of memory, displacement, and the impact of technology and media on modern life. He has mentored many emerging filmmakers, and his dedication to showcasing Canadian talent has raised the international profile of Canada’s film industry. He has received the Cannes Grand Prix and International Critics awards, two Academy Award® nominations, and 25 Genies, and his work has been celebrated in several retrospectives, documentaries and books.

Joshua Odjick – Protégé

Joshua Odjick is a rising star of Algonquin-Anishinabe/Cree heritage from Kitigan Zibi Anishinabeg First Nation. A member of the Deer clan, he is deeply rooted in the teachings and traditions of his people. With a vision inspired by six years of acting experience, Mr. Odjick is expanding his creative journey into filmmaking. Through the GGPAA Mentorship Program, he will work with iconic filmmaker Atom Egoyan to write, produce, and direct his first short film. He aspires to one day direct a feature film, using his knowledge to bring Indigenous stories to the screen with authenticity and depth.

Learn more about the GGPAA Mentorship Program
Created in 1992 by the late Peter Herrndorf, C.C., and Brian Robertson, under the distinguished patronage of the late Right Honourable Ramon John Hnatyshyn, then-Governor General of Canada, and his late wife Gerda, these prestigious awards are presented annually to Canadians whose accomplishments have inspired and enriched the cultural life of our country.

“Often the most specific stories end up being the most universal.”
Measha Brueggergosman-Lee, opera singer

Black History Month is celebrated each February, highlighting remarkable and familiar figures in modern history, politics, civil rights, and the arts. 

Beyond the legacies of these renowned figures, the National Arts Centre embraces an expansive celebration that extends throughout the year, recognizing the enduring impact of Black achievement across Canada’s diverse arts landscape. These stories unveil forgotten chapters of the Canadian history that are ready to be in the spotlight.

Hidden figures: Black pioneers who shaped Canadian performing arts

R. Nathaniel Dett was a composer, writer, pianist, and choir director from Niagara Falls, Ontario, whose notable works include Magnolia, The Ordering of Moses, and In the Bottoms. His compositions blend classical structures with spirituals and African American folk traditions, making him a lasting source of inspiration for pianists, choirs, and orchestras across North America. Dett actively challenged the racial stereotypes prevalent in minstrel shows and some popular music at the beginning of the 20th century. He elevated Black cultural narratives, showcasing the beauty and complexity of Black people on both sides of the border, while he questioned classical music’s Eurocentric status quo.

Dett was regarded as a musical ambassador and received honorary doctorates from Howard University and Oberlin College. He was also the first president of the National Association of Negro Musicians in the United States and one of the first Black members of the American Society of Composers, Authors, and Publishers (ASCAP). Today, Nathaniel Dett’s compositions are included in the US Library of Congress. They are performed on the most legendary stages and by some of the finest musicians in the world, including Toronto’s Nathaniel Dett Chorale, a choral group established in 1999 to honour his musical legacy.

In the world of dance, Len Gibson and Ola Skanks were among the first to amplify the creative voice of Black dancers and choreographers in Canada. Gibson, a Black Albertan, gifted in tap, jazz and Afro-Cuban dance, came to prominence in the dance world after studying under legendary choreographer Kathleen Dunham, becoming a principal dancer at Vancouver’s Theatre Under the Stars (TUTS) and choreographing and performing in the Canadian Broadcasting Corporation’s (CBC) first musical production and North America’s first television production with an interracial cast, Bamboula in 1954.

Ola Skanks of Toronto further pushed the boundaries Len Gibson outlined by championing African diasporic dance choreography’s inclusion in works performed on television, museums and performing arts and culture festivals across North America. Given her lived experience, Skanks also understood the power of making arts accessible to communities often left on the margins. While living in Saskatchewan, Ms. Skanks would give dance lessons to Indigenous children from her home as the government, at that time, would not allow her to offer them on First Nations reserves.

Montreal’s Black Theatre Workshop (BTW), Canada’s oldest Black theatre company, has played a vital role in amplifying Black stories in theatre productions. Since its founding in 1971, BTW has provided a platform for Black Canadians and the wider African diaspora to share their stories, ensuring these narratives are celebrated and preserved rather than forgotten. Among its groundbreaking productions, BTW premiered Nova Scotian playwright Walter Bolden’s Tightrope Time in 1986, the first Black Canadian theatre production to address LGBTQI+-related themes. The NAC’s English Theatre presented Walter Borden’s The Last Epistle of Tightrope Time as part of its 2023-2024 season.

A vision for the future

Black excellence in the performing arts is a living, breathing legacy that shapes and enriches our cultural landscape daily and should be treated as such. Without Nathaniel Dett, there would be no Stewart Goodyear. Without Ola Skanks and Len Gibson, there would be no Laurianne Gibson or Katlyn Addison. Without the Black Theatre Workshop, we would likely not see all-Black theatre productions like Da Kink in My Hair. Honouring the torchbearers reaffirms the unbroken continuum of Black creativity and innovation.

We continue to elevate the narratives of those who came before us while amplifying the voices of those shaping the present and future.  It means celebrating Black artistry and stories as a fundamental part of our shared national identity, not as an exception to it.

Join the NAC in moving beyond February to build a society where Black artists and their stories thrive year-round, their impact is recognized, their contributions are valued, and their legacies evergreened into the vibrant tapestry of Canadian history.

From Thursday, February 20, to Sunday, February 23, at booth #1111, representatives from all artistic disciplines will be there to answer questions from visitors of all ages, discuss our different programming, and give away tickets to performances.

Also, numerous activities are planned throughout the event and beyond. And the Artistic Director of the NAC French Theatre is among the guests of honour, he will be particularly in the spotlight during the first two days of the literary gathering at the Palais des Congrès de Gatineau.

Thursday, February 20

5-6 p.m., booth #415 – Signing session with Mani Soleymanlou at publisher Le Quartanier’s booth. 

6-7 p.m., Place Yves-Thériault – Opening ceremony featuring Mani Soleymanlou as guest of honour.

Friday, February 21

11:15-11:50 a.m., booth #1000 (Espace Théâtre) – Reading of an extract from Mani Soleymanlou’s play Zéro, followed by a signing session.

3:30-4:15 p.m., scène Jacques-Poirier – "Pas la langue dans sa poche": multilingual readings by Oana Avasilichioaei (Le Noroît), Lula Carballo (Leméac), Chase Cormier (Perce-Neige), Ann Gaspe (Rhizome), Lawrence Hill (Mémoire d’encrier), Félicia Mihali (Hashtag), and Mani Soleymanlou (Le Quartanier).

5-5:25 p.m., Place Yves-Thériault – Honorary Interview with Mani Soleymanlou, hosted by Hugues Beaudoin-Dumouchel.

6-6:45 p.m., booth #415 – Signing session with Mani Soleymanlou at publisher Le Quartanier’s booth. 

7:30-8:30 p.m., salle Jean-Despréz de la Maison du Citoyen (25 Laurier Street, Gatineau) –  "Dynamiter les classiques": An exclusive preview reading of excerpts from Classique(s), followed by a discussion with Mani Soleymanlou and Fanny Britt, hosted by Aïda Semlali (ICI Radio-Canada). Free entry with a bracelet-passport or a SLO pass. Online purchase available by clicking here.