Nijinsky, Australian Ballet, State Theatre, Arts Centre Melbourne,Wednesday September 14th 2016

Nijinsky, Australian Ballet, State Theatre, Wednesday September 14th 2016

"Nijinsky", The Australian Ballet, State Theatre, Arts Centre Melbourne,Wednesday September 14th 2016

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

I wrote the following on my Facebook page as soon as I arrived home from the ballet:  ""Nijinksy" is a new ballet for The Australian Ballet, choreographed by John Neumeier from the Hamburg Ballet. Beg borrow or steal a ticket as it is the BEST ballet I have ever seen. The dancing is simply breathtaking - especially for the men with incredibly masculine dancing. There were too many good performances to quote here. Please bring it back soon. September 15th 2016."

I am still glowing on September 22nd as I try to write my thoughts about this ballet.

The word that springs to mind is SUBLIME.  I can die happy that I have seen one of the most perfectly constructed and danced ballets.  John Neumeier originally choreographed this work for the Hamburg Ballet in 2001.

I remember screaming at the curtain calls.  The people sitting behind me are older and love the traditional ballets.  I remember hearing them comment on my enthusiasm.  I do not think they know what brilliance they had just witnessed.

I have read at least four books on Nijinsky's life and the detail in this ballet was frighteningly real as John Neumeier brings the historical pages to life.  I know that John Neumeier has the most comprehensive collection of Nijinsky memorabilia in the world and thank heavens he does - as he enriches our understanding of the world around Nijinsky.

The opening is confronting for many people as the dancer's talk and the theatre house lights are still lit.   It is as if we are also watching this final performance - as if we too, are also preparing to take our seats.

I cannot express the joy and gratitude to the dancers, designers, stage crew and production staff who brought this gem to life.  Can't you tell I loved this ballet?

I have never seen the ENTIRE company of The Australian Ballet dancers dance so well in one performance!  The planets aligned - musically, choreographically, artistically and emotionally.  I had tears rolling down my face during at least two scenes with the sensitive story telling.  The miming was not theatrically old fashioned, but profoundly moving and deeply projected into the back rows of the State Theatre.

Who will ever forget the opening set with the white expansive balconies and the grand piano on stage right?  The stark white set accentuated the institutional coldness for which Nijinsky spent his final years. The set and costumes designs are also by John Neumeier which solidifies this holistic production.

The lighting is reproduced by Ralf Merkel and highlights the emotional juxtaposition of Nijinsky's brilliance and madness.  The lighting also shadows and x-rays the inner emotional charges of each of the characters.

The end of Act One was the richest ending to a ballet I have ever seen.  I counted at least fourteen of layers of historical complexity in the final minute of this act.  I was swept away by the sheer depth of research that has gone into making this a modern masterpiece.

The stroke of extra brilliance was the counter-pointing the World War One story of Nijinsky's brother into "Le Sacre du printemps".  The energy of the dancers and the staging created incredible atmospheres that mirrored both the war and the premiere of this famous ballet.

Having Nijinsky counting and screaming vocally from the wings created a realism.  I wanted to scream and shout as if I was there at the 1913 premiere.  I wanted to scream for the audience to cheer and show their appreciation to create the atmosphere of chaos.

Note that the modern day version of chaos is audience members with their distracting mobile phones. An audience member in the stalls took lots of photos at the start of Act Two. This is unforgivable from a copyright and distraction point of view.  But was totally understandable to record such brilliance.

Kevin Jackson as Nijinsky gave his finest performance ever with his solid technique and musicality. It was Kevin Jackson's emotional connection to Nijinsky that he brought to life.  He also emphasised his physical nuances in his relationships with different people such as Serge Diaghilev, sister, mother and brother.

Any Harris as Romola Nijinsky also gave her finest performance with a depth of understanding of Nijinsky's wife.

Nicola Curry deserves a promotion with her outstanding portrayal of the sister Bronislava Nijinsky. She demonstrated a rich emotional and physical connection to her character.  She was also breath-taking as the Chosen Virgin in "Le Sacre du printemps".

Francois-Eliot Lavignoc needs to recognised for his absolutely brilliant portrayal of the brother Stanislav Nijinsky.  His solos were mesmerising and brilliant demonstrating the highest quality for such incredible choreography.  He is someone to watch for the future.

Adam Bull as Serge Diaghilev was statuesque and commanding, though very underweight for this chubby gentlemen.  His duet with Kevin Jackson played with the dynamics of their power struggle - between the impresario and the artist.

Dimity Azoury and  Joseph Chapman danced Nijinsky's parents with aplomb and honesty..

Natasha Kusch rounded out the main role as Tamara Karsavina and danced many varying roles.  This is the best I have seen Natasha Kusch dance and look forward to seeing her virtuosity in the future.

Nathan Brook as the New Dancer - Leonide Massine provided the sexual tension and jealousy to up the emotional ante.  His charismatic entrance in "Jeux" sliced the air to create the requisite sexual tension.   He too is another dancer to watch for in the future.

Brett Chynoweth shone in each of his cameo roles.  He brought the historical ballets to life with assurance.  Brett Chynoweth with Francois-Eliot Lavignoc created the time-line of Nijinsky's life as they danced his shadows.

Jarryd Madden as the famous Faun and the Golden Slave in Scheherazade was terrific with his clean lines and strength.  The passing of the scarf for the ejaculation moment was counter pointed upstage in a duet.  The simultaneous moment with Jarryd Madden adopting the famous pose with the duet was like a volcanic sexual eruption.

Andrew Killian as Petrouchka provided the dark mystery and tension in his reliable manner.

The Ballerinas of the Marinksy Theatre were danced stylishly by Sharni Spencer and Jade Wood. They were partnered by Brett Simon and Richard House with masculine confidence.

The corps de ballet were phenomenal in creating so many atmospheres of ball scenes, war and historical ballets.  The rising and falling of soldiers in the war scene was sheer brilliance creating newsreels from the battlefields.

I want to see this ballet again to savour the complexity of the relationships of the characters and the historical elements.  There are too many wonderful memories that escape my description here.

This cast were exceptionally good and congratulations to them all.

Congratulations and thank you.  I could die happy knowing I have seen the most perfect ballet and cast.

I gave this a SUBLIME 9.75/10.