FEAST FOR THE SENSES
Côté captures confusion of a soul unravelling
Nijinsky simply shines
The story … is based on the tragic life of Poland’s Vaslav Nijinsky, who was considered the greatest dancer of the 20th century.
John Neumeier’s rendition of Nijinsky is not the kind of fairy-tale ballet that inspires children to dress up in tutus and glitter.
Instead, it’s a psychological study that dives into the mind of a tortured genius, portraying the highs and lows of mental illness through the discipline of contemporary dance. The full-length piece is challenging, complex and ambitious, but under the artistic direction of Karen Kain, who has a close friendship with choreographer Neumeier, the National Ballet of Canada has made it their own since 2013.
On Thursday, opening night of the production’s Ottawa debut, the lead role was danced by the charismatic Guillaume Côté, who impressed with not only his jawdropping athleticism, but also the eloquence of his movement, complete with facial expressions that captured the confusion of a soul unravelling. The story, of course, is based on the tragic life of Poland’s Vaslav Nijinsky, who was considered the greatest dancer of the 20th century until schizophrenia forced him to retire at the age of 29.
The non-linear narrative begins without fanfare, a cold opening set in a ballroom where elegantly dressed patrons are gathering to witness what they anticipate will be the comeback of the great Nijinsky. Except that it’s not: Nijinsky seems distracted and the dancing is oddly exaggerated, although perfectly set to the Chopin being played on a grand piano in the corner. The onstage audience isn’t sure whether to laugh or applaud.
It turns out to be the dancer’s final performance, and from that unsettling point, Neumeier takes us back through his life, weaving some of Nijinsky’s most famous roles into the scenes as the turmoil swells with the musical score, building on the crest of Shostakovich’s Symphony No. 11.
Of great significance is Nijinsky’s relationship with the powerful impresario Diaghilev, portrayed in a poignant pas-dedeux between the two men. Their intense romance is followed by heartbreak, and Nijinsky succumbs to the care of Romola, performed with tenderness by Côté’s real-life partner, Heather Ogden. Another key character is Nijinsky’s troubled brother, danced by Dylan Tedaldi, one of the recurring characters in Nijinsky’s hallucinations.
Nijinsky’s mental state alternates between agitation and catatonia, clearly declining as soldiers gather to symbolize the start of the First World War. There can be no happy ending, but with the entire company — and the NAC Orchestra — involved in the production, it’s a feast for the senses that deserved every one of the multiple standing ovations that occurred on opening night.