Photo: Reggae Roots is an original live experience that reflects on the social, cultural and spiritual importance of reggae. Imagined by the Jamaican-born, Halifax- based vocalist Jah'Mila and NAC Orchestra Principal Youth Conductor and Creative Partner Daniel Bartholomew-Poyser, the creation of this ambitious concert was championed by the NAC Orchestra.
An actor, poised in the wings, takes a deep breath and, plunging into the action on stage, joins the other characters in the drama. They are on a journey, a hero’s journey, a lover’s journey – regardless – the character is driven forward by desire. As an audience, we throw our lot in with them and join them on the journey. Where their story unfolds to reveal authentic vulnerability, a universal human quality, we can relate. We share their goals, their fears, their strengths and weaknesses. For the duration of the performance, we identify with their experience.
The magic of the performing arts lies in its invitation to breathe deeply, to set aside the cares of the day, to dream, to reflect, and to exit the performance hall renewed or changed.
The poetry of dance, the romantic sweep of orchestral music, the poignant lyrics of a folk song, or the gripping drama of a play – the experience is unique to each audience member and yet something we share in community.
The National Arts Centre is a house of dreams, an idea of creativity and story that takes flight on stages across the country through our collaborations and partnerships with artists and arts companies coast to coast to coast. It’s an idea about creation, production and co-production, performance, and learning through the arts of the stage.
In 2020, the performing arts was changed profoundly by the pandemic and calls for social justice, and would soon be challenged by economic shocks that have confronted us all. We set ourselves on a course: to work with others across the country to lead a revival of the performing arts. During the three years of that strategic plan, we heard from arts stakeholders that we were playing a helpful, important role, and that we should push ahead on that course.
Today, audiences are returning with new enthusiasm, sometimes in large numbers, but not consistently. There is greater diversity on Canadian stages, in artistic leadership positions, and in our audiences. But there is much more work to be done. Now is a moment of fragility and promise, like the moment just before an artist goes onstage.
And so, in 2023, as we look ahead to the road that awaits us, we recommit to the journey. We recommit to working with others to build a performing arts sector that is more creative, adaptive, and relevant to communities. One that is equitable, diverse, accessible, and welcoming to all. One that advances environmental sustainability and reconciliation with Indigenous nations. So that the art on the stages reflects all of what Canada is becoming.
Join us on the journey.
President and CEO Christopher Deacon
Christopher Deacon was appointed President and Chief Executive Officer of Canada’s National Arts Centre in June 2018. Throughout his career, he has been a champion of the arts in Canada who believes in supporting ambitious new creation and propelling Canadian artists on the world stage. He is a strong proponent of making performing arts centres more open, accessible and engaged with their communities. His first year as President and CEO celebrated the 50th anniversary season of the NAC with a number of special initiatives, including a European Tour by the NAC Orchestra, and an open house that welcomed thousands of Canadians to backstage tours and performances. Most recently, he enabled the NAC to undertake a number of ambitious artistic projects, including the NAC Orchestra’s first performance at Carnegie Hall in 30 years (at which they performed the American premiere of a new symphony by Philip Glass, commissioned by the NAC); and Un.Deux.Trois, a trilogy of plays by Mani Soleymanlou featuring more than 35 actors that toured to nine Francophone theatres across the country. Christopher Deacon has recruited extraordinary individuals to join the NAC’s artistic leadership team, including Nina Lee Aquino (English Theatre), Caroline Ohrt (Dance) and Mani Soleymanlou (French Theatre). After the COVID-19 pandemic was declared in March 2020, he led the NAC through a challenging financial situation, and focused the organization on leading and supporting the renewal of the Canadian performing arts – the vision of the NAC’s three-year Strategic Plan, The Next Act. In September 2023, the NAC followed up with its 2023-2026 Strategic Plan, The Journey Ahead, in which the NAC recommitted to working with artists and arts organizations from across the land to revitalize the performing arts sector. Christopher Deacon has prioritized equity, diversity and inclusion at the National Arts Centre. His tenure included the landmark launch of Indigenous Theatre and its highly successful first season in 2019-2020. His tenure also included the debut of Black Out Nights at the NAC, in which NAC English Theatre invited Black audiences to experience a theatrical performance with their community; the programming of an increasing number of IBPoC artists and companies; the hiring of a Director of Equity and Inclusion; and anti-racism training at the Board, Senior Management and staff levels of the organization. During his 22 years as Managing Director of the National Arts Centre Orchestra, Christopher Deacon was the driving force behind numerous ambitious initiatives. He led the Orchestra to tour nationally and internationally, including the seven-city China Tour in 2013 that included eight concerts and 80 education events, as well as the 2014 UK Tour, the largest Canadian initiative overseas to mark the centenary of Canada’s entry into the First World War. He was Executive Producer of Life Reflected, a multidisciplinary, critically acclaimed NAC commission that the Orchestra performed across Canada, and in Europe in 2019. He also chaired the Committee overseeing the NAC’s 2015-2018 Architectural Rejuvenation and Production Renewal Projects. Christopher Deacon trained as a composer, studying piano, harmony and solfège at the Conservatoire de Musique du Québec in Hull. He later received a Bachelor of Music degree in Composition from the University of Toronto. He lives in Ottawa with his wife Gwen Goodier. They have a daughter, Charlotte, and he is stepfather to Katherine and Peter.
Christopher Deacon occupe le poste de président et chef de la direction du Centre national des Arts (CNA) du Canada depuis juin 2018. Au fil de sa carrière, il s’est fait champion des arts au Canada, et s’attache tout particulièrement à appuyer les nouvelles créations ambitieuses et à faire rayonner les artistes d’ici sur la scène mondiale. Il privilégie dans son approche les centres des arts de la scène invitants et accessibles, et des liens forts avec les communautés. Sa première année à la tête du CNA coïncidait avec le cinquantenaire de l’organisation, qui a notamment été souligné par une tournée européenne de l’Orchestre du CNA et une journée porte ouverte avec prestations et coup d’oeil derrière le rideau pour des milliers de personnes. Depuis son entrée en fonction, il a rendu possible nombre de projets artistiques ambitieux, dont le retour de l’Orchestre du CNA à Carnegie Hall après 30 ans d’absence à l’occasion de la première américaine d’une nouvelle symphonie de Philip Glass, commandée par le CNA; et la trilogie Un. Deux. Trois. de Mani Soleymanlou, présentée en tournée dans neuf théâtres francophones à l’échelle du pays et mettant en vedette une quarantaine d’interprètes. Christopher Deacon a recruté des talents exceptionnels au sein de l’équipe de direction artistique du CNA, y compris Nina Lee Aquino (Théâtre anglais), Caroline Ohrt (Danse) et Mani Soleymanlou (Théâtre français). À la suite de la pandémie déclarée en mars 2020, Christopher Deacon a aidé le CNA à naviguer une situation financière précaire et à réorienter ses efforts sur la relance du secteur canadien des arts de la scène – la clé du plan stratégique triennal Le prochain acte du CNA. Dans Imaginons la suite, le plan qui a suivi, en septembre 2023, l’organisation a renouvelé son engagement à revitaliser le secteur des arts vivants en collaboration avec des artistes et des organisations artistiques de tout le pays. Christopher Deacon a par ailleurs fait de la diversité, de l’équité et de l’inclusion une priorité pour le CNA. C’est notamment au cours de son mandat qu’a été inauguré l’historique Théâtre autochtone et sa très populaire première saison en 2019–2020; qu’ont vu le jour les soirées Black Out, expériences théâtrales conçues par le Théâtre anglais du CNA à l’intention des communautés noires; qu’un plus grand nombre de talents autochtones, noirs et de couleur ont été mis en vedette; qu’a été créé un poste de direction de l’équité, la diversité et l’inclusion; et que les membres du CA, de la haute direction et du personnel ont reçu une formation antiracisme. Il a également mené à bien plusieurs projets d’envergure au cours de ses 22 ans à titre de directeur administratif de l’Orchestre du CNA. Il a notamment piloté des tournées nationales et internationales, dont une en Chine (2013), qui comportait huit concerts et 80 activités éducatives dans sept villes, ainsi qu’une au R.-U. (2014) – la plus importante initiative canadienne outre-mer soulignant le centenaire du déclenchement de la Première Guerre mondiale. Il a aussi été le fer de lance de la commande multidisciplinaire Réflexions sur la vie, qui a été saluée par la critique et interprétée par l’Orchestre aux quatre coins du pays, de même qu’en Europe, en 2019. En outre, il a présidé le comité responsable des projets de renouvellement architectural et de mise à niveau des équipements de production du CNA. Christopher Deacon a étudié la composition, le piano, l’harmonie et le solfège au Conservatoire de musique du Québec, à Hull, et a plus tard obtenu un baccalauréat en composition de l’Université de Toronto. Il habite à Ottawa avec son épouse, Gwen Goodier. Il est le père de Charlotte, et le beau-père de Katherine et Peter.
