{"id":99336,"date":"2023-09-28T11:54:31","date_gmt":"2023-09-28T15:54:31","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=99336"},"modified":"2023-09-28T14:03:27","modified_gmt":"2023-09-28T18:03:27","slug":"interview-director-chelsea-mcmullan-talks-swan-song-ballet-doc-following-karen-kains-grande-finale","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2023\/09\/28\/interview-director-chelsea-mcmullan-talks-swan-song-ballet-doc-following-karen-kains-grande-finale\/","title":{"rendered":"INTERVIEW | Director Chelsea McMullan Talks About Swan Song, A Ballet Doc Following Karen Kain\u2019s Grande Finale"},"content":{"rendered":"
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L-R (clockwise): Filmmaker Chelsea McMullan (Photo courtesy of the artist); Karen Kain (Photo: Karolina Kuras, courtesy of the National Ballet of Canada); Principal dancer Jurgita Dronina as the Black Swan (Still from the film)<\/figcaption><\/figure>\n

Swan Song is a documentary film by Chelsea McMullan and collaborator Sean O\u2019Neill that follows Karen Kain and company as she directs her first ballet \u2014 and simultaneously retires from \u2014 the National Ballet. It\u2019s a story that takes audiences behind the magic that\u2019s created on-stage to the sweat and (often) heartache of its genesis.<\/p>\n

While the story is unique, the terrain of artistic creation was already familiar to McMullan as a filmmaker.<\/p>\n

\u201cI’d done a lot of artist documentaries,\u201d says McMullan. \u201cI love working with artists.\u201d<\/p>\n

They’re responsible for a string of well-received documentaries, include Ever Deadly, which premiered at TIFF 2022, created in collaboration with Inuk artist Tanya Tagaq, My Prairie home (about transgender artist Rae Spoon), and Crystal Pite: Angels\u2019 Atlas<\/a>.<\/p>\n

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L-R (clockwise): Shaelynn Estrada (Photo: Karolina Kuras, courtesy of the National Ballet of Canada); Tene Ward (centre) and other members of the corps de ballet (Still from the film); Filmmakers Chelsea McMullan and Sean O’Neill with Principal Dancers Siphe November and Jurgita Dronina (Photo: Christopher Sherman)<\/figcaption><\/figure>\n

The Project Comes Together<\/h3>\n

Chelsea had been co-showrunner on the CBC show In The Making, which delved into the artistic process, together with Sean O’Neill, who also starred as host.<\/p>\n

\u201cWe knew we wanted to work together on something,\u201d they continue. \u201cWe were trying to look for the right subject matter.\u201d<\/p>\n

In terms of a story, the collaborators were looking for a specific kind of project. \u201cWe wanted to make something that had sort of a narrative arc.\u201d<\/p>\n

Sean O’Neill, who is, together with Chelsea, a co-creator, writer and producer (McMullan is also executive producer), heard about Karen Kain\u2019s retirement, and her plans to finish with her directorial debut.<\/p>\n

It was the story they\u2019d been waiting for. Their plans included filming in a cin\u00e9ma v\u00e9rit\u00e9 mode, i.e. one where improvisation plays a role, and the camera is used to reveal what happens behind the scenes. (It’s also called observational cinema.) Chelsea notes that it involves an expensive process, and one that involved full access to the subjects of the film.<\/p>\n

\u201cWe didn’t want to make a Karen Kain documentary.\u201d The story of putting the ballet together held much more possibility. Chelsea was drawn by the inherent drama in telling the story of Kain\u2019s retirement from a half century with the National Ballet of Canada.<\/p>\n

The pandemic, as it turns out, played a key role in actually ensuring that the project saw the light of day.<\/p>\n

The process began back in early 2019, with initial plans for filming in Jun of that year. There wasn\u2019t enough time, however, to raise the funding. When the pandemic struck, the delay works in their favour. \u201cWe picked up the conversation six months later,\u201d Chelsea recalls. The pandemic gave them unique opportunities. \u201cIt really gave us time to connect with the dancers […] outside of the studio.\u201d<\/p>\n

\"Corps
Corps de ballet member Shaelynn Estrada (Still from the film)<\/figcaption><\/figure>\n

The Stars<\/h3>\n

In Swan Song, members of the corps de ballet \u2014 whose role it is to move and act in unison on stage \u2014 come through as compelling individual characters in their own right. Their anxieties and heartbreaks, along with the sweat and hard work, are under the spotlight, and their vulnerability as artists is one of the major takeaways of the doc. As several members of the company acknowledge, in Swan Lake in particular, the corps de ballet work non-stop. Their exertion is exhausting to watch.<\/p>\n

That focus came about as the filming began. \u201cIt was quite organic, in the sense that, some of the subjects we were following were in the corps de ballet.\u201d<\/p>\n

Karen Kain also had an important role in mind for the corps in the ballet, however. In her interpretation, they are all victims of the evil sorcerer Baron Von Rothbart who support each other, and attempt to end their enchanted captivity.<\/p>\n

\u201cIt\u2019s the art imitating lifeness of it all.\u201d<\/p>\n

Chelsea did extensive research on ballet before filming began, but the dancers of the corps de ballet drew their notice for another reason. \u201cI think something that really stood out for me, one of the shots I loved, was when they’re in the change room together getting ready.\u201d<\/p>\n

As the camera pans down the room, Chelsea was struck by their youth. \u201cThe body of the company is a 19-year-old that essentially runs a marathon.\u201d It\u2019s a demanding environment at any age. \u201cWhen you’re that young anyway, you’re struggling with mental health,\u201d they note.<\/p>\n

Shaelynn Estrada, one of the corps members, emerges as one of the stars of the film. \u201cShe’s an amazing person, and an amazing subject,\u201d Chelsea says. They note Shaelynn\u2019s raw vulnerability in a culture where compliance is more the norm. Ballet is about discipline. \u201cThey\u2019re taught from a young age to control everything.\u201d<\/p>\n

Audiences will root for the young dancer as she agonizes about her future. \u201cShea really struggles with it because she’s so honest and truthful. We knew she would make a great subject.\u201d<\/p>\n

\"Karen
Karen Kain (Still from the film)<\/figcaption><\/figure>\n

Ballerina Jurgita Dronina, who performs the starring role for opening night, is also featured in the film. She is revealed as a tough survivor, one who fights through lingering physical issues, and who isn\u2019t afraid to take issue with director Kain when she feels it necessary. The younger dancers in the corps idolize Jurgita as a \u201cbeast\u201d who is legendary for performing one role, hopping on a plane, landing and then performing another role without skipping a beat.<\/p>\n

Naturally, Karen Kain, her artistic process, and her retirement, are a major focus of the documentary. \u201cShe’s essentially been in that company for 50 years,\u201d Chelsea notes. \u201cShe’s like a genius artist. Sometimes I feel like Karen doesn’t totally get her flowers.\u201d They call Kain\u2019s interpretation of Swan Lake \u201cbrilliant\u201d, and comment that her choreography is most often overshadowed by her work as a dancer.<\/p>\n

In the film, it\u2019s clear that Kain evolved from her own days in the corps into an assured dancer, and then confident leader of the company. Her public persona remains intact. However, as the rehearsals unfold, uncertainty sets in, and issues seem to multiply as opening night looms. Up to and including the dress rehearsal, it\u2019s unclear how (or if) the ballet with take flight in performance.<\/p>\n

\u201cShe was very vulnerable in the process. That’s what being an artist is.\u201d<\/p>\n