Theatre Review: Nureyev Legend & Legacy Gala

5th September 2022

The Nureyev Legend & Legacy galas arranged by artistic director Nehemiah Kish in association with the Rudolf Nureyev Foundation were held at the newly-renovated Theatre Royal, Drury Lane – the stage on which Nureyev made his first performance on English soil in 1961. The sumptuous surroundings provided ample opportunity for photos with the giant paintings, statues and sweeping staircases as a backdrop.

There was palpable excitement in the air as Ralph Fiennes and Dame Monica Mason took to the stage to make an introduction to the evening’s performance. Fiennes spoke of his fascination with Nureyev and particularly his interest in the seismic moment when Rudolf decided to defect to the West, with no knowledge of what that could mean for his life. Thankfully it was as he had hoped, and it gave him the chance to live creatively and openly for the rest of his life.

The microphone passed to Monica with the promise of hearing what it was like to work with the man himself. Her short speech revolved around the word “poison”. This was such an interesting word to purposefully use. We may have expected her to use “passion”, “infectious” or perhaps an adjective linked to being drugged like “intoxicated” or describing being irresistibly drawn to him. But no, she chose poison, which must surely reflect on the negative side of this character.

On to the dancing, the first piece The Sleeping Beauty, act 2, entr’acte solo danced by Guillame Côté, got us off to a sticky start. The inserted solo was choreographed by Nureyev who wanted to increase the Prince’s role in this ballet. The choreography appeared stilted with lots of straight legs. You could see it was in Nureyev’s style, but the breath was missing. The rise and fall that would have coloured the solo and made it beautiful was lacking. (I should note that on 5^th Sept Côté stepped in for Germain Louvet who was due to dance this.)

Second up was a charming duet from Gayané danced by Maia Makhateli and Oleg Ivenko. The pair had a great rapport and sweet chemistry. Elena showed delicious pliability through the feet and beautiful arms and Oleg had a lovely balon and executed the steps perfectly. The hair slicks were endearing, and we started to see what the pull of Nureyev’s character would have been to audiences who watched this.

The third dance was the pas de deux from La Bayadere act 3 by Iana Salenko and Xander Parish. This was technically good but lacked emotion and the audience didn’t connect with the story or the partnership.

I was particularly looking forward to the Flower Festival in Genzano pas de deux and Ida Praetorius and Francesco Gabriele Frola didn’t disappoint. It was just lovely! Beautiful musicality from them both, they nailed the intricate footwork, arms were expressive and it was a joy to watch.

The final piece in this half was from Laurencia, the pas de six. Wow I would love to see this ballet re-staged! All six danced well but Osipova totally stole the show. Set in a Castilian village and including a strong element of folk dancing, she excelled at bringing alive this excerpt. Her ability as an artist to be dancing with gay abandon and then whip out a precise, technically perfect enchainment is amazing! I think of every dancer there she embodied the spirit of Nureyev the most closely. The expression and character she brought to the piece was brilliant.

Act 2 started with a video of interviews with some of the dancers, telling us how they feel about Nureyev and his legacy. Vadim further endeared himself to us (if that’s even possible!) by telling us that dancing Nureyev’s Romeo & Juliet was “agony” due to its technical and emotional demands. An interesting insight into the physical and emotional fortitude needed to dance his work. But hold onto our hats, Alina Cojocaru spoke so eloquently and insightfully. I didn’t catch her whole sequence but her interest is in what “fuelled” Rudolf. What led him to have this curiosity which led to innovation, which led to him becoming a unique artist.

This dove-tailed into her piece, an excerpt from Don Juan where she danced as the angel of death (which came third in the second half). Again the solo male work didn’t come naturally and looked a little awkward from Alexandr Trusch, but the partnering was incredible. Dancing to Gluck’s choral work was so poetic. It was incredibly moving. The lifts were amazing and Alina achieved an other-worldly presence. She was ethereal but not in a vaporous, wafting way, but strong, so poised, and she danced with exacting precision.

Vadim and Natascha Mair danced the act 3 grand pas de deux from Sleeping Beauty very well. As usual, humble, joyous Vadim was a dream and the pair made the signature dives a pleasure to watch with their excellent partnering skills, musicality and confidence.

Next came Francesca Hayward and William Bracewell dancing the act 2 pas de deux from Giselle. Wow this was beautiful! Francesca danced as lightly as the gossamer of her dress. Her arms, hands and head were perfection. The pair had a warm chemistry on stage and a tenderness of partnering that was beautiful to watch.

Yasmine Naghdi and Cesar Corrales provided the crescendo of the evening and rightly brought the house down with the well-known pas de deux from Le Corsaire. Yasmine sparkled as brightly as her tiara and whipped out the fouetté turns and pirouettes with crispness and dynamism. Caesar soared around the stage and delivered the sensation the audience were hoping for.

I’ve recently read Vaganova Today: The Preservation of Pedagogical Tradition by Catherine Pawlick, apt as Rudolf trained there. One of the points made is that they don’t just teach the steps or learn the repertoire at the academy, they have to feel it. For me this is what this gala really showed. As a dancer, Rudolf lived and breathed every tendu and head inclination in his own unique way. His persona on the stage was magnetic and that made him stand apart. To his audience (but perhaps not his colleagues) he wore his ego well and that is what propelled him to stardom. The performances showed what a tall order emulating this is, but in attempting it a hugely enjoyable gala was staged.