RMP:
What are some of your most memorable moments as a dancer?
AL:
Reflecting on my time as a dancer, there are a few moments that stand
out as truly special. One of the most memorable was performing as
Jaimie Paul in Ecstasy of Rita Joe. It was my first real understanding
of
the Indigenous experience in Canada, and it left a lasting impact on me,
both personally and artistically. Another unforgettable experience was
performing Romeo and Juliet. I was in my second year, just a kid in the
corps, and yet I had the incredible opportunity to perform Mercutio, and
Romeo on alternate nights. It was such a pivotal moment in my career,
as it gave me the chance to stretch my abilities and connect with deeply
emotional roles. These are memories I will always cherish.
Performing in Cairo at the Balloon Theatre was another unforgettable
experience. The repertoire we danced there, including Our Waltzes and
The Hands by Paddy Stone, felt so special in that theatre. We also had
a
photoshoot done against the backdrop of the pyramids - a surreal
moment.
RMP:
How was the transition to Artistic Director?
AL:
I had spent years as a peer among the dancers and staff, and suddenly,
I was their artistic director. That shift in dynamics can be difficult
for
everyone, and I had to find a way to navigate it with sensitivity and
respect.
RMP:
What are some of your favorite ballet experiences as RWB's
Artistic Director?
AL:
One defining moment as Artistic Director was the creation of Nutcracker
in 1999 with choreographers Galina Yordanova and Nina Menon and a
full creation team.
Working with choreographer Mark Godden to create Dracula was
another milestone. It was our first full-length contemporary production
in
over decades, and making that leap was a risk, especially considering
the audience’s familiarity with mixed-repertoire programs. However,
Dracula not only succeeded but has continued to captivate audiences to
this day. The entire process, from the initial creation to the final
performance, was exhilarating. It was a challenging but rewarding
experience to see the work resonate so deeply with people.
Another highlight has been working with Val Caniparoli.
His choreography has had a lasting impact on my career, particularly his
work A Cinderella Story. For this production, we collaborated with the
renowned Manitoba composer Ron Paley to adapt a score suitable for
classically trained dancers, while maintaining an infectious rhythm that
infused new energy to the work. This year, we will be performing Jekyll
&
Hyde, another work choreographed by Val, and I am excited to see it
come to life on stage. Val has an extraordinary gift for combining
classical technique with a fresh perspective, and it is always a privilege
to bring his work to our dancers and audiences.
Each of these experiences, whether creating full-length works, short
works, collaborating with talented choreographers, or performing
timeless classics, has been a meaningful part of my journey with the
Royal Winnipeg Ballet. I am immensely proud of what we have
accomplished and the ways we have contributed to the art form.
RMP:
Could you comment on the artistic and dance highlights of the
RWB’s famous Nutcracker?
AL:
One of the most cherished experiences of my career was re-imagining
Nutcracker in 1999. At that time, there was considerable discussion
about making a more contemporary version of the classic tale ‘Clara
and
the Mouse King.’ The version we performed until 1998 was quite
different. It was not centered around Christmas and did not include
children in the way we think of today. I wanted to create a version of
Nutcracker that was deeply rooted in Winnipeg’s and Canada’s
history,
set at the turn of the last century, with a strong connection to the not-too-
distant past.
We chose to set the production based on the former Richardson family
home on Wellington Crescent, now known as Munson Park, which
brought a sense of authenticity and warmth to the story. To see that
production evolve into the beloved annual tradition it is today has been
incredibly fulfilling. For me, Nutcracker is not just a holiday performance.
It is often the first chance for young students to participate in a
professional-level production. It is where many first fall in love with
ballet,
just as I did as a child.
What is truly special about Nutcracker is how it has become a seasonal
favourite for so many. It unites families across generations and brings
the community together year after year. To witness how a performance
steeped in Christmas tradition has become a lasting part of so many is
both humbling and inspiring. It is gratifying to see how this work
continues to transcend time, creating memories and traditions that will
continue to inspire future generations.
On a personal level, one of my favorite moments in Nutcracker has
been the Snow Scene. We decided to use shorter tutus rather than the
long romantic tutus evoking the feeling of crystals and snowflakes,
adding a magical quality to the scene. It is a beautiful moment that has
always felt special to me.
RMP:
How did you get into dance as a young man, and who were your
early inspirations?
AL:
My journey in dance started by chance. My sister was involved in a
regional Nutcracker production in Ottawa, and one year, her dance
teacher asked if anyone had siblings who could join the cast. My
brothers and I tried it, and I loved the experience so much that I signed
up for ballet classes.
I eventually shifted my focus from ballet to gymnastics and later studied
kinesiology at the University of Ottawa. Despite my initial departure
from
dance, the pull of movement and artistry never quite left me, and I found
myself circling back to where I started dance training in Ottawa.
Several years later, a group of us travelled to Winnipeg to train with
David Moroni at the Royal Winnipeg Ballet School's Summer Session.
After that summer, I chose to attend the full time program knowing it
was
the right choice for me.
From there, everything fell into place. I was fortunate enough to receive
a full scholarship to stay in Winnipeg and continue my training. While
in
training, I was offered a position with the Entre Six Ballet Company in
Quebec, but I chose to stay in Winnipeg with the Royal Winnipeg Ballet.
I was determined to make it work.
My parents had hoped I would follow a more traditional career path, such
as kinesiology, which was the initial focus of my post-secondary studies.
With time, they came to understand and appreciate my decision and
were proud of my successes.
As a student, I was deeply inspired by my teacher, David Moroni. He
was an extraordinary teacher and an incredible source of inspiration.
Another huge influence on me was Henny Jurriens. His artistry and
vision were truly remarkable, and his loss was felt deeply by all of us.
I
also learned much from such luminaries as Arnold Spohr, Galina
Yordanova, Rudi van Dantzig, and many others.
Looking back, I feel incredibly fortunate. I came to Winnipeg with few
resources and an open heart and a willingness to follow where it led.
I
have now spent 50 years with the Royal Winnipeg Ballet. I could not
have asked for a more fulfilling or rewarding path.
RMP:
What are some little-known facts about the life and training of a
ballet dancer?
AL:
As a dancer, the job was often misunderstood. I cannot tell you how
many times I would tell people, "I’m a ballet dancer,"
only for them to
ask, “But, what do you actually do?” There was this assumption
that
ballet was just a hobby or something you did on the side. But it is a
full-
time career. I worked five days a week for thirty hours a week plus
training - long days at that - and it was rarely glamorous. People do
not
realize the sacrifices dancers make: the rehearsals, the physical and
emotional toll, and the discipline needed to succeed. It is not just
performing on stage. It is a lifetime of dedication.
RMP:
What new horizons will you be exploring in the next phase of
your remarkable dance career?
AL:
I do not see this as retirement but rather a new chapter in my life. After
having the honour of serving as Artistic Director for over three decades,
it is time to pass the torch. It has been a privilege to contribute to
the
growth and success of the Royal Winnipeg Ballet, and I am incredibly
grateful for the opportunity to have worked with so many talented and
dedicated artists in a variety of capacities. I still feel energized and
excited for the future, and while dance will always be a part of me, I
am
looking forward to exploring new horizons. I am drawn to the idea of
working in the humanities or potentially getting involved in relief work.
I
am interested in using the skills I have acquired over the years and
continue serving others and making a positive impact. I am excited for
what comes next, a time for change and growth. I am looking forward to
what the future holds.
In closing, I want to express my gratitude to my family for everything
they
have contributed to my journey and our future together. My wife, Caroline,
and our two children, Emilie and Daniel, have been a constant source of
inspiration for me. Their unwavering support in my career has played a
crucial role in my accomplishments, and I am hopeful about what we will
continue to achieve as a family.
I©
2025 Ross Michael Pink
