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2010 Adjudicator

Andrea Boardman

With a career that has spanned over thirty years, Andrea began her dance training in New Jersey, soon performing with the West Jersey Ballet Company. Awarded first place in the National Merit Scholarship Awards in 1975, she attended the National Academy of Arts and began her professional career with the National Ballet of Illinois. She went on to become a lead dancer with American Ballet Theatre’s junior company, BalletRepertory, from 1978-1980.

Her exceptional talent brought her to dance at the heart of LesGrandsBalletsCanadiensdeMontréal for 21 years, 16 years as principal dancer. Performing in over 75 works with the company, she distinguished her magnetic energy and versatility with a range of repertoire extending from the great classics to modern and contemporary works. Her vast experience encompassed interpreting works of past and present choreographic legends such as: Diaghilev, Fokine, Petipa, Bournonville, Tudor, Balanchine, Limon, Hans Van Manen, Jiri Kylian, Ohad Naharin and Mark Morris, as well as most major Canadian choreographers. In particular, her collaborations with James Kudelka and Nacho Duato became signature pieces for the company and expanded her reputation for brilliance in contemporary works.

From 2001-2009, she joined LaLaLaHumanSteps, establishing a powerful presence in Edouard Lock’s award-winning film and creation, Amelia, and Amjad.

Praised by critics worldwide and featured in eight dance films made for television, Andrea has participated in prestigious international benefit galas and has been invited as a guest teacher for numerous schools that share in her profound passion for dance.

As the critics have written…

“The petite Miss Boardman takes to the charged physicality of the choreography as a matter of course. This is great dancing.”

Anna Kisselgoff, theNewYorkTimes, 1993

“The highlight was during the Gala des Étoiles when Sylvain Lafortune threw Andrea Boardman into the air in a deliciously sensual arc of flesh and fabric; it was a split second of rare abandonment, high risk and perfection. That moment was dance at its best, an act of courage and beauty never to be forgotten.”

Linda Howe-Beck, theMontrealMirror, 1995

“The depth, humanity and energy of her art was riveting…even the slightest movement of her neck spoke volumes…Repeatedly; she crossed the stage with a determination and upright stance that became for me a leitmotif of today’s Western urban female. True artistic greatness.”

Paul-James Dwyer, DanceInternationalMagazine, 2004





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