Choreography,
set, costumes and lighting concept: John Neumeier
Musical
Director and Conductor: Nicolette Fraillon
Australian
Opera and Ballet Orchestra
Joan
Sutherland Theatre, Sydney Opera House until 28th November
Matinee
performance on 16th November 2016 reviewed by Bill Stephens
Even for
those who have never seen a ballet, the very word, Nijinsky, conjures up
visions of an exotic dancer reputed to have been the greatest male ballet
dancer in the world. That is, of course, until Rudolf Nureyev came along.
John
Neumeier has had a life-long fascination with Nijinsky, and is reputed to have
the largest collection of Nijinsky memorabilia in the world. In 2000 he created
this marvellous full-length ballet in homage to the Nijinsky legend, presenting
aspects of Nijinsky’s short, incandescent career as a virtuosic dancer who
dazzled audiences with his dancing and several extraordinary ballets which
scandalised a generation, but are still danced around the world to this day.
For this
work Neumeier has utilised the talents of seven different dancers to represent
Nijinsky in the kaleidoscopic whirl of events which ultimately led to his
descent into madness.
At this
performance the central role of Vaslav Nijinsky was danced by Jake Mangakahia
in a passionate performance which drew cheers from the matinee audience. Though
his dancing is accomplished, and his interpretation promising, Mangakahia,
despite his brave performance, has not yet developed the stage presence
necessary to allow his characterisation to dominate the stage as it must.
Representing
various other Nijinsky incarnations, Cristiano Martino was particularly
impressive, as the Golden Slave from “Scheherazade” and the Faun in
“L’Apres-midi d’un faune”, Andrew Wright provided an excellent interpretation
as Petrouchka, and Christopher Rodgers-Wilson registered strongly as both the
Harlequin from “Carnaval” and the Spirit of the Rose from “Spectre de la rose”.
 |
| Cristiano Martino as the Faun in "L'Apres-midi d'un faune" Photo: Jeff Busby |
Amber Scott
looked ravishing, danced superbly and conveyed beautifully the anguish of
Nijinsky’s wife, Romola, stage-managing his last performance, and shielding
Nijinsky through the confusion of his approaching
decline. Dimity Azoury also impressed in several sequences with her confident
dancing and striking appearance as Nijinsky’s mother, while Robyn Hendricks was
beautifully cast as the ballerina Tamara Karsavina.
Francois-Eloi
Lavignac gave an eye-catching performance as Nijinsky’s brother, Stanislav,
especially in his abandoned solo in the second act.
The striking
score for “Nijinsky” incorporates works from of a variety of composers, among
them Schuman, Chopin, Rimsky-Korsakov and Shostakovich. The opening of the
ballet is set in a salon, prior to Nijinsky’s final performance, in which a
pianist (Laurence Matheson) is playing Chopin on a grand piano. After his wife
Romola settles the guests, Nijinsky, accompanied by the pianist, begins to
dance an eccentric solo to the music of Schumann. A rare on-stage appearance by
Artistic Director, David McAllister, clearly enjoying himself as one of the
salon guests, provided a delightful fillip to this scene.
Eventually
the full orchestra, conducted by Nicolette Fraillon, takes over, heralding a
giddy whirl of thrillingly danced incidents, depicting moments in Nijinsky’s
life.
Music by Shostakovich
was the perfect accompaniment to the events in the more dramatic second act, which
are performed in an abstract setting featuring two huge neon circles. A striking
sequence for the large ensemble of male dancers, clad in trunks and army
tunics, depicted the advance of the war, was so strongly danced, that it
prompted the thought that perhaps a revival of “Spartacus” might be on the
horizon.
“Nijinsky”
is a marvellous ensemble ballet, which also places strong acting demands on its
cast. While very well danced on this
occasion, many of the principals seemed so absorbed in executing the demanding choreography
correctly, that their characterisations often slipped away. When both demands are achieved in equal
measure this ballet will provide an exceptional ballet experience.
This review also appears in Australian Arts Review. www.artsreview.com.au
