BALLET RUSSES combines classical dance with music and drama to tell the story of the legendary dance company during the early years of the twentieth century; of the tumultuous love affair between impresario Diaghilev and the company's famous male dancer Nijinski--and his ultimate betrayal. Other dance luminaries included in the cast are prima ballerinas Karsavina and Thessinska, as well as the ballet apprentice, Romola, whose designs on Nijinski cause discord in the company. Rounding out the cast is manager/secretary, Serge, Baron de Gunzburg, the company's benefactor, choreographer Fokine and the composer, Stravinski; the premiere of his pagan, dissonant ballet, "Rite of Spring"--which shocked the audience and caused a riot--is portrayed at the end of Act I.
Song synopsis
So He's Here?/audition/Something Wonderful--Impresario Diagilev anxiously awaits his audition with Nijinski, a young male dancer he has heard so much about. Nijinski enters and the audition begins, with Diaghilev commenting in counterpoint to the music. Stunned by his talent and beauty, Diagilev invites Nijinski to be a member of the company--and his lover. Nijinski accepts both.
When You're Intimate with the Czar--Tchessinska, one of the leading prima donnas, (and an ex-lover of Czar Nicholas), is incensed because some of her leading roles have been given to another dancer. She resigns, but not before she uses her influence to have the company's subsidy cancelled. Diaghilev, however, is successful in obtainint another patron, Baron de Gunzburg.
When You're in Love--Karsavina, another of the prima donnas, fends off choreographer Fokine's amorous advances.
I'm Through with You--Irritated at Diaghilev's increasing use of Nijinski as a choreographer--and Karsavina's rejection--Fokine leaves the company.
You've Been Everything to Me--Nijinski pours out his gratitude--and love--to Diaghilev.
We Need Money--Faced with a lack of funds to pay for costumes, Diaghilev and Serge must once again go to the Baron for financial assistance.
He's So Near--Apprentice ballerina Romola, who's secretly in love with Diaghilev, meets him for the first time. Nijinski takes particular notice of the lovely young girl.
Something Wonderful (reprise)--Stravinski argues with Diaghilev over Nijinski's choreography of his ballet, "Rite of Spring".
We're On Our Way to Buenos Aires--The company is aboard ship enroute to a South American tour without Diaghilev--who hates ocean voyages. Romola sees this as her chance to snare the elusive Nijinski who, unbeknownst to Romola, has begun to nave romantic feelings toward her.
If Only Things Were Different--Romola reveals her feelings to Nijinski but, because of his situatiion with Diaghilev, he tells her a love between them would be impossible. Alone on deck, he laments over how things might have been if he'd met her in another time and place.
Prayer--Romola asks for divine aid in her quest for Nijinski's love. But help comes in the form of the Baron who brings the two together (something he will later come to regret) and they are married.
A Revelation--Diaghilev, irate over Nijinski's betrayal, fires him. When asked why he would take up with a woman Nijinski admits that he is not homosexual, that he became Diaghilev's lover only to advance his career.
Final Dance--Nine years later, on his way to reorganizing the company after World War I, Diaghilev pays a final visit to Nijinski and Romola. Nijinski, who has become insane, thinks he is a young man again auditioning for the Ballet Russes. Diagilev and Romola comment in counterpoint to the audition music.
Final Dialogue--Alone on stage, Diaghilev regretfully bids his farewell.
