The National Ballet of Canada marked its 75th anniversary this weekend with a production of John Cranko’s “Romeo and Juliet” at Toronto’s Four Seasons Centre for the Performing Arts, a venue shared with the Canadian Opera Company. The choice of Cranko’s work is a deliberate homage to the company’s history; in 1964, the National Ballet became the first troupe outside Germany’s Stuttgart Ballet to perform this version, a significant milestone in establishing its international reputation.

Founded in 1951 by Celia Franca, a British-born dancer and choreographer, the National Ballet of Canada aimed to create a world-class institution rooted in Canadian soil. Franca arrived in Toronto tasked with building a ballet company from scratch, a formidable challenge in a city that had yet to emerge as a major cultural center. She recruited dancers from across Canada, many with varied training backgrounds, and pushed them toward cohesion in a new national company. Despite early funding challenges and the absence of government arts grants, Franca was known for her relentless fundraising efforts and uncompromising standards, emphasizing quality orchestra accompaniment and grand artistic ambitions.

Over the following decades, the company grew its repertoire, commissioning over 30 new ballets under Franca’s leadership while nurturing Canadian talent, including Karen Kain, who rose to prominence in the 1970s. Yet debates about the company’s national identity have persisted. Early critics questioned whether its style and repertoire reflected a distinct Canadian character or merely mirrored European traditions. This conversation continues as the National Ballet balances a global outlook with Canadian heritage.

Hope Muir, who became artistic director in 2022, acknowledges the increasingly international nature of ballet. With dancers often trained worldwide and access to a broad range of styles and techniques, Muir emphasizes artistic excellence above nationalist definitions. Her tenure has introduced new choreographers, both within and expanding classical forms, and moved the company toward greater inclusivity. Changes include allowing dancers to wear tights and shoes matching their skin tones, the incorporation of intimacy coordinators in productions involving sensitive content, and hiring the company’s first transgender woman apprentice.

Despite these progressive steps, the company faces criticism for its decreasing proportion of Canadian-trained dancers—currently around 40 percent—raising questions about public funding priorities. Similarly, the appointment of British choreographer David Dawson as resident choreographer highlights a preference for artistic innovation over national affiliation.

The National Ballet’s evolution reflects broader tensions in defining cultural identity in an increasingly globalized arts environment. Longtime principal dancer Veronica Tennant describes the company’s enduring quality as “spirit”—a pioneering and resilient energy first embodied by Franca and, in her view, echoed today by Muir’s leadership. Both directors share a reputation for bold decision-making and a commitment to artistic relevance in their respective eras. As the company strides into its next chapter, it continues to negotiate the balance between its Canadian roots and its place on the world stage.