#belong

When Norbert Vesak’s Belongwon the gold medal at the International Ballet Competition in Bulgaria, it marked a turning point in Canadian dance history. We spoke with the ballerina who won the rarely awarded Certificate of Exceptional Artistic Achievement for her performance of this work at the competition. Meet Evelyn Hart as she shares the significance of this renowned piece and what it is like to work with Boston Ballet dancers who will bring it to stage, during Mirrors, May 6-28, at the Boston Opera House. 

The performance of Belong at the 1980 International Ballet Competition in Bulgaria is known to have brought renown to the Royal Winnipeg Ballet (RWB) on the world stage and marked your elevation to the rank of international Prima Ballerina. How do you describe the impact it had on your career and RWB’s place in the dance industry?

Back then there was no YouTube, no social media. The way to be propelled into the international circuit was to be in one of these major competitions. When we finished performing the piece at the International Ballet Competition in Bulgaria, the audience exploded and they would not stop clapping. They kept clapping for about 20 minutes and we were asked to tell the audience to end their applause. Imagine coming from a small town in Ontario and having your dreams realized suddenly – it was like being in Glinda’s bubble from Wizard of Oz. The whole journey was so intense. I battled with the deep desire to do well but also the big fear that I couldn’t. I was just a little kid – it wasn’t easy but it was one of the greatest experiences. People still come up to me and say, “That dance changed my life. It moved me to tears.”

When we won the gold medal, the judges said to me, “Well, you’re in the big leagues now.” Royal Winnipeg Ballet was always a popular company, but now it had a face and a name. This allowed the company to bring in an even more diverse repertoire. This victory was like a jewel in the crown. 

Tell us a little bit about the choreographer Norbert Vesak and this work?

Norbert was a gentle soul. He was a very kind choreographer and had a very deep soul. He was a true artist and a genuine person. I think when he created works he wasn’t looking for anything but something beautiful – he just loved the movement.

I would say this is an unassuming piece. You go out there with just a unitard and it is just you and your partner, the music, and the steps. No bells and whistles. There is a certain spiritual fluidity to it. It is essentially about being in the moment and allowing ourselves to be present. Our job as artists is to bring people to that moment.

There is a sense of intimacy and deep connectedness between partners in this duet. How do you describe the dynamics between the partners? 

The key to this pas de deux is the connection between the partners. The steps have to be done with an automatic trust. A trust that is both physical and emotional. Especially for the woman—she needs to give herself completely, 100%, to her partner. It is really a partnering pas de deux. You have to put your weight into your partner’s hands and just trust that he will be there for you. It is as if you’re going to a foreign place where you can’t speak the language, you just have to feel it.

What was it like working in the studios with Boston Ballet dancers to stage this work?

It was such a delightful experience. All three couples were so open. They were so hungry and willing to take information—they just wanted to be better. They wanted to find the key for themselves. You don’t always find that. Dancers at that caliber often are very guarded. The most beautiful thing was that they all had a deep respect for each other and for the work itself. There was lots of laughter. I had a great time and I fell in love with them. I loved that the six of them were all so different. All of them were very brave. All of them were willing to go to places where it required them to change things, to adapt. You couldn’t ask for any better.

What do you hope dancing this work brings to the Boston Ballet dancers who have the honor of dancing it?

This pas de deux is like the little sparkles and gems in your life. For those 10 minutes that you’re on stage, you’re creating a very personal experience for you and your partner. It is something very personal. The sheer intimacy between the two individuals is something that no one can take away.

What do you hope the audience takes away from the piece? 

I like Mikko’s vision of bringing audiences something old, something new, and something in the future. I really believe it doesn’t have to be the latest trend to be fabulous. What I want audiences to take away from this work is that sometimes things from the past are just as beautiful and just as wonderful.