BALLET REVIEW: Nureyev: Legend And Legacy - The Theatre Royal, Drury Lane, London.

A glorious evocative display from some of the world's best dancing talent.

Opening night on September the 5th saw the world's leading ballet stars join together for a gala to celebrate the legacy of world famous and legendary soviet-born ballet dancer and choreographer Rudolf Nureyev. I was delighted to be in attendance, and after a relaxing Lido swim in Covent Garden, headed straight over on the short walk to Drury Lane. At first sight, the Theatre Royal looks quite unassuming, and then turning the bend one is greeted with its true magnificence, its history gloriously revealing itself. Haworth Tomkins recently completed a major restoration of the iconic Grade 1 listed theatre. The restoration involved seven years of research, and the attention to detail that has been laid upon this building project has beautifully brought the theatre back to life. It clearly shows, the hustle and bustle, a perfectly laid out red carpet, and the cameras all helped to create a magical buzz of what we were all about to witness amongst the theatre's great surroundings. The buzz understandable, Nureyev was highly regarded and in fact many believe the greatest male dancer of his generation. His influence deeply affecting those who were in his presence and even to this day, 29 years after his untimely death at age 54, his life and legacy is carried on via performances like this and also his Rudolf Nureyev Foundation. The foundation established in 1975 (then named The Ballet Promotion Foundation) is, amongst many other things, there to help assist in grants and funds to enable aspiring ballet dancers who cannot afford to go to ballet school to follow their dreams. This I believe to be a true legacy of love carried on through the years.

The gala, curated by former Royal Ballet Principal Nehemiah Kish and supported by the Rudolf Nureyev Foundation, involved an international cast of dancers accompanied by live music from the Royal Ballet Sinfonia, conducted by David Briskin. The gala was spilt into two acts consisting of nine classical excerpts representing highlights in Nureyev's career. Before the dancing began, entering from the wings and introducing this opening performance was acclaimed actor Ralph Fiennes who directed the Nureyev inspired 2019 film biography, "The White Crow", and gave an impassioned talk about Nureyev and his work. Also stepping out to introduce the gala was Dame Monica Mason DBE, former Director of The Royal Ballet who spoke of her great fondness for not only the work of Nureyev, but the man himself and left us with the deeply thought-proving words, "He wanted to poison us all with his passion."

We were led in with "The Sleeping Beauty, Act 2, Entr'acte Solo" and which I have to say Guillaume Côté, who was a last minute replacement for Germain Louvet due to injury, gave a fine performance. It's never easy standing in last minute for many reasons (Lovet is also due to dance this piece on the 12th September performance) However I'm always inspired by close-to-the-wire cast changes and where artistes give their own uniqueness to any given role. Credit to Lovet. Next up was "Gayane, Pas De Deux" performed by Oleg Ivenko, star of 'The White Crow' and who was an absolute delight to watch, his stage presence was on another level. His dance partner Maia Makhateli shone just as brightly on that stage and was a beautiful match for Ivenko. "La Bayadere, Act 3, Pas De Deux" danced by Iana Salenko and Xander Parish was extremely watchable and delivered with poise. For me, a definite highlight of the whole gala evening came next in the form of "Flower Festival In Genzano, Pas De Deux", performed by Ida Praetorius and English National Ballet dancer Francesco Gabriele Frola. Frola completely owned that stage and his dancing talent was clear for all to see, with his exquisite leaps and energy. I could not look away once from watching this piece and Praetorius just dazzled as his partner, her character work was wonderful to watch in this August Bournonville inspired dance. The costumes were especially charming in this piece and credit to wardrobe supervisor Valentina Centra. The final piece before the interval was "Laurencia, Pas De Six" with Cesar Corrales, Natalia Osipova, Yuhui Choe, Marianna Tsembenhoi, Benjamin Ella and Daichi Ikarashi. This classical dance also had wonderful layers of Spanish folk dance and the two intertwined perfectly. I almost felt a little out of breath at the end of this dance and had certainly built up a thirst for an interval drink.

The interval bubbles were sipped in The Garden Cafe Bar, a mystical and hidden oasis secret garden style bar that dazzled with fairy lights, candles, and with a real vintage-style vibe. I loved it in there and will be back! Once seated again ready for Act 2 we were introduced to "The Sleeping Beauty, Act 3, Grand Pas De Deux" with Natascha Mair and Vadim Muntagirov where both oozed elegance and finesse. Next was "Giselle, Act 2, Pas De Deux" and dancers Francesca Hayward and William Bracewell graced the stage with a presence I've not quite witnessed before, the chemistry between them was magnetic. My second highlight of the evening was the penultimate performance of "Don Juan (Excerpt)" where I was completely mesmerised watching. I quote "The Angel Of Death, a mysterious lady in white, approaches Don Juan determined to bring him to his damnation. However, beholding his face, she, as all women, falls in love with him and is unable to act..." That mysterious lady in white, Alina Cojocaru was just sublime. Her ballet dancing looking effortless and as though she was floating in space. Alongside her Alexandr Trusch led by example and had the audince in the palm of his hand. This piece for me was astounding and got me standing on my feet at the curtain call for this dance alone. Sensational, bravo Trusch and Cojocaru. The final dance "Le Corsaire, Pas De Deux" has Corrales giving us a bold and daring display of his talent with spins, leaps and endless bounds of energy and stage presence. Yasmine Naghdi shines beautifully and this piece looked to be a firm favourite judging on the cheers from the audince almost egging the dancers on for more!

The stage was simply but appropiately set with just the Royal Ballet Sinfonia delicately lit in the background behind a gauze backdrop. This gave the dancers their moment to really stand out and the Sinfona with their own dramatic yet unobtrusive presence throughout the whole 2 hour performance. Credit to conductor Briskin and all the Sinfona members who played with zest and passion. I may have been the only one on my feet at the end, I was too engrossed in applauding the cast to notice and with no one by my side there was no shuffling or awkwardness about standing. I think standing ovations should be heartfelt, if you feel it, you feel it and I certainly did watching Nureyev: Legend & Legacy. Even more the special at Theatre Royal Drury Lane where Nureyev made his 1961 debut!

Reviewer - Mary Fogg
on - 5.9.22