Brendan Saye

Principal Dancer

Brendan Saye View Gallery

Quick Facts

Born: Vancouver, British Columbia
Trained: Canada’s National Ballet School
Joined: 2008
Principal Dancer since: 2019

Brendan Saye is sponsored through Dancers First by Robin Vaile Robinson.

 

Five Things to Know

  1. 1In 2018, Brendan debuted in a principal role he admired growing up: A Man in James Kudelka’s The Four Seasons. Brendan has said he was awestruck by the power and difficulty of the role, which involves complex choreography and partnering.
     
  2. 2He performed the title role in George Balanchine’s Apollo in a commissioned film of the ballet directed by Alejandro Alvarez-Cadilla. The film debuted as part of Spotlight Series, the National Ballet’s virtual season in 2020/21.
     
  3. 3Brendan’s repertoire includes principal roles such as Albrecht in Giselle, Siegfried in Swan Lake, White Rabbit in Alice in Wonderland, Prince Florimund in The Sleeping Beauty, Romeo in Romeo and Juliet, Eurydice in Orpheus Alive and featured roles in Chroma, Petite Mort and The Dreamers Ever Leave You.
     
  4. 4He represented the National Ballet at The International Competition for the Erik Bruhn Prize in 2012. That same year he received the Patron Award of Merit.
     
  5. 5Brendan made his choreographic debut at the National Ballet in 2018 with Grey Verses, a ballet that has since toured to London, England and entered the repertoire of ABT Studio Company, where it was also filmed for their virtual season in 2021.

 

Favourite Ballets

  1. 1The Four Seasons
     
  2. 2Apollo
     
  3. 3The Dream
     
  4. 4Romeo and Juliet
  1. 5Giselle5

 

Videos

Reviews

Romeo and Juliet
“For someone of his age and experience, Saye made an admirable debut, investing the steps with meaning and shaping a very personal, more moodily brooding Romeo. He’s certainly someone to watch.”
– Dance International

Apollo
“Brendan Saye struck all the right chords. He not only has the height, noble looks and long, supple limbs so well suited to Apollo but also the co-ordination and fluent musicality needed to make sense of the angularities of Balanchine’s choreography.”
– Toronto Star

Awards

Peter Dwyer Award (2008)

Christopher Ondaatje Prize (2008)