The National Ballet of Canada is kicking off their 2026 with a lean and impactful double bill.

The evening begins with Serge Lifar’s Suite en Blanc, a visual feast and grand celebration of the company’s large corps. The stark white on black design and unique formations of this classical piece are an elegant treat but the technical execution isn’t up to the company’s usual standard with teetering in nearly every segment. Strangely, this lack of polish is something I remember from the last time this piece was programmed, a mere two seasons ago, which begs the question of whether it’s a rehearsal issue as I wouldn’t say messiness is standard for the company. The standout of the piece, beyond the showstopping full company tableaux, is newly joined principal dancer Agnes Su who makes an elegant debut in “La Flûte”.

After intermission is the North American premiere of Flight Pattern from National Ballet favourite Crystal Pite. This piece is executed with far more precision and intensity than its more formal predecessor. Small, focused movement performed in perfect synchronicity by the large ensemble makes a deep impact as the ever-inventive and thoughtful Pite tells an abstract but honest tale of refugees in a swift 30 minutes. The choreographer’s trademark athleticism is on full display in this challenging and moving, though perhaps a tad obvious, contemporary work.

These two contrasting pieces work perfectly together as a visually engaging, corps-focused showcase.