On Sunday, March 13, 2016, Fathom Events presented a live cinematic performance of “Spartacus,” the Bolshoi Ballet’s signature piece, viewed by fortunate movie-goers for one showing only in 500 cinemas worldwide. This epic ballet premiered in Moscow in 1968, marking the 50th anniversary of the October Revolution, and 48 years later it continues to exhibit all the energy, fervor, and raw brawn which has characterized the very essence of the Bolshoi’s male dancers ever since.
Staged by the legendary choreographer Yuri Grigororvich with an oddly cinematic but functional score by Aram Khachaturian, “Spartacus” is nothing short of spectacular in its display of space-devouring leaps and astonishing Olympic athleticism by its two principal male dancers: The incomparable Mikhail Lobukhin in the title role of Spartacus, leader of an unsuccessful slave revolt against the evil Roman ruler Marcus Licinius Crassus, powerfully performed by Alexander Volchkov. Both Lobukhin and Volchkov are the very personifications of the unbridled male energy and muscularity the Bolshoi has come to be known for, and accordingly, in the case of “Spartacus,” subtlety of expression is definitely not it’s strong suite. With successive decades and interpretations of this iconic work, we’ve come to expect nothing short of broadly expressed, passionate male heroism and this current production doesn’t disappoint; in the world of ballet, the role of Spartacus stands as the coveted tour de force piece for every principal dancer to aspire to.
Ably complimenting the merciless Crassus is his cunning and crafty courtesan, Aegina, performed seductively by the beautiful Svetlana Zakharova whose flowing, erotic movements contrast with the harsh, angular, war-like virility of the male dancers.
The fourth principal in this remarkable production is Anna Nikulina who plays the pure and virtuous Phrygia, wife of Spartacus, a role in absolute contrast to the vampish, glittering, and irrepressible Aegina. However, the contrast is so great, I feel Nikulina’s demeanor, and even her drab costuming depict her as a bit too bland, even considering her character’s “slave” status. Yet all is redeemed by her exquisite partnering with Lobukhin in their wonderful pas de deux, a breathtaking show-stopper with each successive lift more incredible than the former, and possessing a lyrical, subtle beauty so uncharacteristic of this muscular piece in general. The contrast works beautifully.
On balance, “Spartacus” is an historic treasure that has fortunately not become an historic artifact even after almost a half century. A dynamism prevails throughout, from the very first scene with Crassus in command of a gold-clad army, wielding shields and spears, dynamically lunge-jumping and forward leg kicking reminiscent of Fascism, to the horrific “crucifixion” of Spartacus in the final act, lifelessly impaled on the bloody tips of dozens of spears, held high above the heads of his victorious slayers. “Spartacus” intrigued us and held our attention.
