John Neumeier’s full-length ballet Nijinsky is a masterfully crafted and evocative experience. Neumeier’s concepts for set, costume and lighting are realised with stunning effect. His in-depth research on original choreography, period costumes and design elements blend fantasy and reality in a work brimming with historical references, emotion, complexity and detail.
Although this work stands on its own, a knowledge of both Vaslav and Bronislava Nijnsky’s choreography and roles significantly assists in one’s recognition with the storytelling of Nijinsky’s reality. From the outset we are reminded this era was one of great artistic development, where Diaghilev, Nijinsky and his sister had massive influence on the art of dance and choreography.
Opening in Suvretta House Hotel in St Moritz, Switzerland in January 2019, we see Nijinsky appear for his final public performance. The theatricality of the performers in the opening scene contrasts wryly with the powerful realism and natural presence of Nijinsky’s appearance.
Part One blends his personal and professional recollections. Fragmented corps de ballet scenes, revitalising original movements and costumes, give intriguing glimpses of the period and context for Nijinsky’s extraordinary fame and notoriety.
Memories of his most famous roles appear to guide or respond to significant events of his private life: The Golden Slave from Schéhérazade, the Spirit of the Rose, the Poet from Les Sylphides repeatedly manifesting amid personal scenes and memories. Romola de Pulszky, who becomes his wife, and Serge Diaghilev, his previous lover and entrepreneur, vie for his love and his art as the history of the Ballets Russes unfolds.
Part Two comes as a resolution both tragic and loving. We see inventive sculpting and restraint in the corps de ballet choreography. Grieving and war-torn tableaux in a style reminiscent of early 20th century works contrast with piercingly expressive movement, betrayal, death and madness .The sense of soaring pain, idealism and love in the score, weave through the second act, most achingly in the pas de deux and pas de trois scenes, guiding us through the grim times of his brother’s death and his schizophrenic turmoil.
Callum Linnane as Nijinsky was eloquent and expressive, portraying a staggering stylistic and emotional range with sensitivity and ease. Linnane moved through Nijinsky’s pivotal roles in Spectre de la Rose, Faun, Golden Slave, Harlequin and Petruschka with dexterity and a clear connection to each of their motivations and dance genres. Multiple dancers acting as Nijinsky enabled Linnane to step in and out of scenes, layering Neumeier’s exploration of Nijinsky’s psyche.
As Nijinsky’s wife Romola, Grace Carrol connected with Linnane with heartfelt warmth and versatility. In moments of drama or stillness she held power and dramatic intent, while her fluent line and expressive release in the arms and torso created seamless executions of the choreography and dramatic purpose.
Maxim Zenin as Diaghilev imbued his character’s commanding and narcissistic control of Nijinsky with absolute certainty, power and predatory sensuality. Nuances in many of the understated greetings and gestures were crafted superbly. Zenin empowered his dancing with hypnotic attention toward Nijinsky and their combined evocative partnering work was faultless.
Jill Ogai as Bronislava Nijinska was riveting. Secure and commanding, alternating wild abandon and despair in Rite of Spring, she danced with precision, grounded power and mesmerising assurance.
Elijah Trevitt as Nijinsky’s brother Stanislav held the quicksilver qualities of youth, freely expressive and articulate, dancing with lithe flexibility, line and remarkable speed and control in floor work. His pathos and passion was given full artistic range in a fiercely uninhibited performance.
Ako Kondo as Tamara Karsavina/The Ballerina held such command and fluent precision that her characterisation and presence drew the eye. As the Sylph, she truly seemed to float – a muse of celestial quality.
Marcus Morelli played Nijinsky’s double dancing the Harlequin Spectre of the Rose. His vigour and fluent qualities embodied the capricious perfume swirling and bewitching Nijinsky. Quiksilver double assemblés and razor sharp focus showed the brilliance of his technique – doubled up with Linnane in perfect synchronicity.
Jake Mangakahia, as Nijinsky’s Golden Slave/Faun, performed with decadent hedonistic allure, internalizing the power and articulation of seduction through sinuous spine and gestures. His Faun was hypnotic and brooding, layering even a walk with intensity.
Brodie James danced Nijinsky as Petruschka, heart-wrenchingly languid and despairing alternating with hopeless joy. In black and white, he seemed a portent of doom, dancing with controlled release and precision through collapsing and disjointed phrases.
Jonathan Lo and Orchestra Victoria created absolute synchronicity with the dance, generating crisp delivery, ranging from delicate warmth and tenderness togrief and despair.
Beginning with Chopin’s Prelude No. 20 in C Minor, Op. 28, played by Andrew Dunlop, we accompany Nijinsky through the beginning of his performance. We progress to the first movement from Schumann’s Carnival Scenes from Vienna, Op. 26 and onto the heady sensuality of three movements from Rimsky Korsakov’s Schéhérazade.
Shostakovich’s Sonata for Viola and Piano Op.147 brings us to heartfelt and tremulous moments of resonance and suspense with the exquisite collaboration of violist Paul McMillan and pianist Dunlop.
Symphony No. 11 in G Minor Op. 103 by Shostakovich, inspired Act Two, taking us into the darkest thoughts and traumas of Nijinsky’s mind. Grief, love and anguish becoming equal partners in sound as they are in dance. Bravo!
This production is a powerful full-length work, demonstrating the sensitivity and care with which Neumeier has crafted his story of a stellar and tormented artist. Its cyclical aesthetic form is satisfying to experience and is carried beautifully by the excellence and talent of our Australian Ballet Company.
“Astound me”, said Diaghilev. They did!
Photo credit: Kate Longley
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Steven McTaggart reviewed “Nijinsky”, presented by The Australian Ballet at the Regent Theatre, Melbourne on March 1, 2025.
