Reflections on an Extraordinary Career

To become a professional ballet dancer is to accomplish something most can only imagine. To become one of Canada’s finest dancers and a leading light at The National Ballet of Canada feels almost beyond imagination. For Principal Dancer Heather Ogden, that dream has been a reality for nearly 30 years, reflecting the exceptional artistry and work ethic that have made her a treasured performer, partner and colleague. As Heather prepares for her final season with the National Ballet, we asked her to reflect on the journey that brought her to this moment.

When you were a young dancer in training, what made you decide to pursue ballet professionally?

I don’t remember making a conscious choice. I just remember loving it and not wanting to not dance. I did a few summers at the Banff Centre for Arts and Creativity in my last two years of high school and I think that’s when I really felt I could live my life dancing all day and I liked the feeling of developing as an artist. The director of my ballet school, the Richmond Academy of Dance in BC, encouraged me to audition for companies. I wasn’t exposed to a lot of companies growing up so I am grateful for her encouragement. 

You have worked for three Artistic Directors at the National Ballet. What did you admire about each one?

James Kudelka (1996–2005)
James hired me from a 90-minute audition in 1998. I was 17, I had braces and I was four inches shorter than I am now. We had apprentice contracts that year but we were heavily used because James was creating his Swan Lake. James is magic in the studio. From the beginning, he took chances on me and I was always ready to go, even at a young age. I liked being challenged and taking risks and he made me feel confident as someone he would take a chance on. James loved to work and he loved to work his dancers. I think I developed my own strong work ethic during this time. He guided my career and development with a careful eye and he took me through many debuts and all my promotions. One of the last things he did as Artistic Director was promote me to Principal Dancer. I was very touched and happy we could share that milestone.  

Karen Kain (2005–2021)
Karen was a big star – a household name – and when she came to Vancouver on tour, I always tried to see her! I even saw her farewell performance in James’ ballet The Actress. As a dancer, I admired her artistry. She was really a woman onstage, beautiful and strong. When I joined the company, she had already retired but she was around sometimes and I was always a bit geeky and starstruck. Eventually I had the privilege of working with her in the studio and as my Artistic Director for many years. She always helped me bring out my artistic and human side – she wanted me to be the most “Heather” possible. She helped me let go of my perfectionism and to take risks artistically. She was an idol who became a mentor and director and she showed me so much compassion and kindness throughout my many years with the company. 

Hope Muir (2022–Present)
Hope came into my life when I was already established as a Principal Dancer. We had immediate respect for one another. I hoped I could be a support to her when she joined the company and she was a support to me in many ways as I navigated these very important and rewarding autumn and winter seasons of my career. She made me feel valuable and important as a dancer and a leader in the company and she guided me through some challenging times, including a very scary and possibly career-ending injury. I remember her saying, “you are so important and we are going to help you get back. I don’t want you to worry.” In a way, she has helped me mature – which is a weird thing to say as a 45-year-old. But it’s an honour to be having this career at this stage of my life and she has helped me enjoy it and feel good with where I am. She is also the one to help me finish my dancing journey with the National Ballet and I know this experience will hold a special place in my heart.  

How would you define yourself as a dancer today?

I would describe myself as a dancer who is confident, generous, passionate and open. When I was younger, I was very focused on technique and getting every step right. I was hard on myself, competitive, motivated and full of passion. Those qualities brought me so far, but now I am so much more interested in the whole picture. I’m interested in how I can communicate in my work authentically and honestly and how I can connect with the audience. I trust my body more now, I trust my instincts, my artistry. I know how to take risks and that it’s okay to make mistakes. This realization has helped me bring more of my own personality into my dancing.  I also take pride in being musical, being strong and being a forever student. I like to always be learning and evolving and I’ll never give up – but I feel more comfortable in who I am as an artist, as a woman and someone who can be an example and mentor to others. It’s a good place to be. 

Who are the mentors who have helped you the most and why?

Magdalena Popa (Artistic Advisor and former Principal Ballet Mistress)
As soon as I joined the company I knew I had to work with Magdalena. She was the picture of elegance and excellence and all the really beautiful dancers worked with her. I had my first big opportunity with Magdalena when I was in the Corps de Ballet and was given the role of Juliet. It was transformative. She taught me how to work, how to build a role, how to be a ballerina. She believed in me and became my coach and mentor and inspiration. She taught me to be strong physically and mentally. She also held me when I cried and needed support. She taught me when to push and when to know my limits. There is so much love and trust between us and I’ve always felt so lucky to have her support. 

Suzanne Farrell (Former Principal Dancer with New York City Ballet and Founder of The Suzanne Farrell Ballet)
Suzanne came into my life at the perfect time. I had just become Principal Dancer and I had my career in front of me. Suzanne invited me to do the role of Dulcinea in her remount of Balanchine’s Don Quixote. She took me under her wing and showed me a different side of ballet and myself! Suzanne gave me confidence. She made me feel like I didn’t have to think so much, I just needed to dance. Sometimes she would say a lot, sometimes a little, but through the years I learned so much. She is always so insightful and we really connected through our love for Balanchine and music and work! I often felt like my best and freest dancing came out with Suzanne. 

Evelyn Hart (Former Principal Dancer with Royal Winnipeg Ballet) 
I watched Evelyn with stars in my eyes as a young dancer. She had this sparkling technique but she almost wouldn’t let you see it because every step was wrapped in a story, sewn together seamlessly. I still have a pair of her pointe shoes that she signed for me when I was a student in Vancouver. They say, “may you soar.”

Evelyn taught me so much about ballet in general: technique, passion, detail, nuance. She was always around as an ear or with suggestions, always ready to help a young bunhead dive into conversations about process and artistry. Her passion was and is infectious. She helped me recover from a foot injury that kept reoccurring and I’ll never forget it. She taught me class every day and listened to me express so much doubt and frustration. She told me, “You can’t lose talent, even when you’re injured.” 

Why did you choose to pursue your career at The National Ballet of Canada and what does the company mean to you today?

My ballet teacher Annette Jakubowski encouraged me to stay in Canada. She thought it was a shame that so much talent left the country. So, my parents and I decided that The National Ballet of Canada would be a good place to start. It was the company I knew best – I saw them on tour, I idolized their dancers. I auditioned and it worked out! The company means so much to me today. It has been my great pleasure to be here for such a long time. I’ve seen three Artistic Directors, many different dancers and productions, challenges and triumphs, but it has always been a place that feels like home. I love the audience, I love the culture the dancers and coaches bring to the studio, I love the way we support each other. I’m so grateful for this place that has attracted my passion and loyalty and heart so completely for so many years. What a gift to have found the National Ballet.

You will take your final bow with the company during the 75th anniversary season. How does it feel to have these two milestones coinciding and what do you hope to experience at your farewell performance?

It is my honour to be celebrated in a year that also honours the great history and legacy of the National Ballet. I hope that my time here has contributed to the company and its legacy too. During my final bow, I hope to feel loved and supported as I always have. I hope my last show can feel like a celebration – I know there will be tears because that is who I am, but I hope to be smiling through them with my favourite company, favourite colleagues and favourite audience.

About Heather Ogden

Top Photo: Heather Ogden. Photo by Karolina Kuras.