Arts & Entertainment

Remembering Nijinsky

Troubled ballet legend honored in biographical show

Published

11 years ago

August 22, 2013

Patrick Folliard

Primoz Bezjak as Vaslav Nijinsky in ‘Nijinsky’s Last Dance.’ (Photo courtesy Mladinsko Theatre and CulturalDC)

‘Nijinsky’s Last Dance’
Aug. 26-30
Mead Theatre Lab at Flashpoint
916 G Street N.W.
culturaldc.org

Powerful, brilliant and gay, Russian impresario Sergei Diaghilev famously started the Ballets Russes in Paris in 1909, smartly bringing together the best artists, composers, choreographers, dancers and fashion designers to create the most revolutionary dance company of its era.

The unstoppable Diaghilev is equally well known for fostering the career of his much younger lover, the legendary Nijinsky (1889-1950). Roundly considered the 20th century’s greatest male ballet dancer, Vaslav Nijinsky is remembered for dancing and choreographing daring new sexually charged works like “Afternoon of a Faun,” “ Jeux” and “Rite of Spring.” Without Diaghilev’s support, it wouldn’t have happened.

“Diaghilev and the Ballets Russes, 1909–1929: When Art Danced with Music,” an exhibition currently at the National Gallery of Art (through Oct. 6) explores the man and his achievement. CulturalDC is joining the fun in presenting the Slovenia-based Mladinsko Theatre’s production of local playwright Norman Allen’s one-man play “Nijinsky’s Last Dance” at Flashpoint, D.C.’s downtown arts space.

“When I began to see pictures of Nijinsky (advertising the National Gallery show) on the sides of buses running up and down 16th Street, I knew that I wanted to be a part of this,” says Allen, who is gay. So he approached both the National Gallery and CulturalDC (part of whose mission is to match spaces for performances) and told them about this Slovenian production of his play. He suggested bringing it to D.C. would be one more way to help celebrate the exhibition. All agreed.

At 80 minutes without intermission, “Nijinsky’s Last Dance” mixes text, movement, music and sound. The piece is biographical, but rather than being strictly chronological, it’s more of a poetic, dramatic wash of his life. And though a one-man show, the actor slips in and out of other characters.

“Nijinsky was a great mimic which was a god send for me as a playwright,” Allen says. “He goes into Diaghilev for a half page. Then he’s his wife Romola Pulszky (an obsessed fan he unexpectedly married), or Tamara Karsavina (the great prima ballerina with whom he was occasionally paired).”

A longtime balletomane, Allen’s play premiered at Arlington’s Signature Theatre in 1998. It was reprised at the Kennedy Center in 2003. More recently as a guest artist in Slovenia, Allen saw the Mladinsko version.

“It’s an amazing production. A very powerful actor named Primož Bezjak plays Nijinsky,” he says. “It’s performed in Slovenian with English surtitles. And the company stipulates that no more than 60 tickets can be sold for each performance regardless of the size of the theater. The stage is encircled with just one row of chairs. Fortunately, because Flashpoint is such an intimate space, this won’t feel odd.”

Obviously well built but rather static in photographs, Nijinsky was reportedly athletically explosive and incredibly sexy and provocative on stage, as was his work.

“Nijinsky’s choreography for ‘Jeux’ was a response to Diaghilev’s desire for them to have a threesome. The ballet is choreographed for a man and two women and structured around a tennis match, but sex is at its core,” Allen says. “But it’s ‘Afternoon of a Faun,’ though, that is truly a sexual experience. Nijinsky shocked the audience at the premiere when he placed a nymph’s veil on the stage and lowered himself onto it, rubbing his crotch against it, imagining it to be her. By all accounts his astounding stage presence was sexual in nature. In ‘Faun,’ he created a role that gave him a direct means to express that.”

Around the time when the First World War broke out, Nijinsky began to show signs of schizophrenia, an illness that would soon after effectively end his career. Allen believes Nijinsky’s professional and personal crackup mirrored the war.

“Nothing would ever be the same. Everything fell apart. The world view changed. And he couldn’t make that transition,” he says.

One of Nijinsky’s last dances, says Allen, was an improvisational piece performed at a ballroom in Saint Moritz before an invitation-only audience. Already mentally ill but still traveling Europe with his wife and children, Nijinsky’s intention was to dance the war, physically expressing horror and disillusionment. Reviews weren’t great.

Allen recommends making a trip to the National Gallery before seeing the show. A section of the exhibit is dedicated to Nijinsky. Unfortunately there is no footage of Nijinsky dancing — not a single frame exists. “It’s a shame in way,” Allen says. “But it also contributes even more to Nijinsky’s status as a legend.”

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Theater

‘Amm(i)gone’ explores family, queerness, and faith

A ‘fully autobiographical’ work from out artist Adil Mansoor

Published

4 days ago

April 20, 2024

Patrick Folliard

Adil Mansoor in ‘Amm(i)gone’ at Woolly Mammoth Theatre. (Photo by Kitoko Chargois)

‘Amm(i)gone’
Thorough May 12
Woolly Mammoth Theatre
641 D St., N.W.
$60-$70
Woollymammoth.net

“Fully and utterly autobiographical.” That’s how Adil Mansoor describes “Amm(i)gone,” his one-man work currently playing at Woolly Mammoth Theatre.

Both created and performed by out artist Mansoor, it’s his story about inviting his Pakistani mother to translate Sophocles’s Greek tragedy “Antigone” into Urdu. Throughout the journey, there’s an exploration of family, queerness, and faith,as well as references to teachings from the Quran, and audio conversations with his Muslim mother.

Mansoor, 38, grew up in the suburbs of Chicago and is now based in Pittsburgh where he’s a busy theater maker. He’s also the founding member of Pittsburgh’s Hatch Arts Collective and the former artistic director of Dreams of Hope, an LGBTQ youth arts organization.

WASHINGTON BLADE: What spurred you to create “Amm(i)gone”?

ADIL MANSOOR: I was reading a translation of “Antigone” a few years back and found myself emotionally overwhelmed. A Theban princess buries her brother knowing it will cost her, her own life. It’s about a person for whom all aspirations are in the afterlife. And what does that do to the living when all of your hopes and dreams have to be reserved for the afterlife?

I found grant funding to pay my mom to do the translation. I wanted to engage in learning. I wanted to share theater but especially this ancient tragedy. My mother appreciated the characters were struggling between loving one another and their beliefs.

BLADE: Are you more director than actor?

MANSOOR: I’m primarily a director with an MFA in directing from Carnegie Mellon. I wrote, directed, and performed in this show, and had been working on it for four years. I’ve done different versions including Zoom. Woolly’s is a new production with the same team who’ve been involved since the beginning.

I love solo performance. I’ve produced and now teach solo performance and believe in its power. And I definitely lean toward “performance” and I haven’t “acted” since I was in college. I feel good on stage. I was a tour guide and do a lot of public speaking. I enjoy the attention.

BLADE: Describe your mom.

MANSOOR: My mom is a wonderfully devout Muslim, single mother, social worker who discovered my queerness on Google. And she prays for me.

She and I are similar, the way we look at things, the way we laugh. But different too. And those are among the questions I ask in this show. Our relationship is both beautiful and complicated.

BLADE: So, you weren’t exactly hiding your sexuality?

MANSOOR: In my mid-20s, I took time to talk with friends about our being queer with relation to our careers. My sexuality is essential to the work. As the artistic director at Dreams of Hope, part of the work was to model what it means to be public. If I’m in a room with queer and trans teenagers, part of what I’m doing is modeling queer adulthood. The way they see me in the world is part of what I’m putting out there. And I want that to be expansive and full.

So much of my work involves fundraising and being a face in schools. Being out is about making safe space for queer young folks.

BLADE: Have you encountered much Islamophobia?

MANSOOR: When 9/11 happened, I was a sophomore in high school, so yes. I faced a lot then and now. I’ve been egged on the street in the last four months. I see it in the classroom. It shows up in all sorts of ways.

BLADE: What prompted you to lead your creative life in Pittsburgh?

MANSOOR: I’ve been here for 14 years. I breathe with ease in Pittsburgh. The hills and the valleys and the rust of the city do something to me. It’s beautiful, it’ affordable, and there is support for local artists. There’s a lot of opportunity.

Still, the plan was to move to New York in September of 2020 but that was cancelled. Then the pandemic showed me that I could live in Pittsburgh and still have a nationally viable career.

BLADE: What are you trying to achieve with “Amm(i)gone”?

MANSOOR: What I’m sharing in the show is so very specific but I hear people from other backgrounds say I totally see my mom in that. My partner is Catholic and we share so much in relation to this.

I hope the work is embracing the fullness of queerness and how means so many things. And I hope the show makes audiences want to call their parents or squeeze their partners.