Spectacular. Creative (in short, it is visionary). Compelling.
Nijinksy showcases the very best of The Australian Ballet.
As the title suggests, it charts the rise and fall of acclaimed Russian dancer and choreographer Vaslav Nijinsky (12th March, 1889 – 8th April, 1950).
Considered to be the greatest male dancer of the early 20th century, he was diagnosed with schizophrenia in 1919 and committed to a facility.
Photos by Kate Longley
Then, over the subsequent three decades, he was in and out of institutions, never dancing in public again.
His last performance was at 5 in the afternoon on 19th January, 1919, in the ballroom of a hotel in St Moritz in Switzerland.
Choreographer John Neumeier starts by recreating that scene and proceeds to interpret Nijinsky’s thoughts, memories and hallucinations at the time.
That includes the appearance of Nijinsky’s former mentor, impresario and lover, Serge Diaghilev and Nijinski’s career with the Ballet Russes.
Dancers, as aspects of his personality, perform fragments from his most famous roles.
The fantasy includes his sister, Bronislava and his older brother, Stanislav, who also trained to be a dancer, but was marked from childhood by signs of “madness”.
A woman in red, Romola de Pulszky, who would become his wife, criss-crosses his confused recollections.
In time, Nijinsky’s psychosis drives him more and more inside himself and nightmarish visions of World War I plague him.
Nijinksy, the ballet, is an extraordinary piece of work, insightful and dramatic, poignant and powerful.
Staging, lighting and sound meld together seamlessly, with fine classical music accompaniment from Chopin, Schumann, Rimsky-Korsakov and Shostakovich.
The production begins with chatter among those assembled at the Suvretta House Hotel, before Nijinsky enters with slow, measured steps, to great expectation.
What follows is quite the trip down memory lane, a captivating and wild ride, punctuated with a great deal of feeling – love, lust, concern, anger and fear.
On opening night, Callum Linnane had the audience spellbound with a polished showing as the talented but troubled Vaslav Nijinksy.
Grace Carroll was emotion personified as his agitated wife, while Maxim Zenin was steadfast as his male lover.
A picture of angst was Elijah Trevitt as Stanislav Nijinsky.
Among the many to impress, with his high leaps and agility was Marcus Morelli, who assumed the role of Nijinski’s Harlequin. He also played the spectre of the rose.
The supreme artistry of The Australian Ballet was apparent throughout.
Superb Orchestra Victoria, conducted by Jonathan Lo, undoubtedly elevated the tragedy.
Elegant, black and white, and light grey costuming was contrasted by delicious pops of colour.
Set changes ranged from the minimalist to the traditional and modern, the latter incorporating large, white glowing rings of light.
Nijinsky is a mesmerising night of balletic brilliance.
Two hours 30 minutes, including a 25-minute interval, it is playing at the Regent Theatre until 1st March, 2025.
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