All elements of The McRae/Vassilev Project came together to present a highly original and personal show that was all the more impressive because we had no idea what to expect. Both Steven McRae and Vasko Vassilev have carved out superlative careers in their respective areas, as a dancer and a violinist. Who could have imagined that their backstories and shared beliefs would produce an evening-long performance of such charm, insight and excellence.
These two great artists were joined by exquisite Royal Ballet principal Sarah Lamb and pianist Pam Tan Nicholson, the four of them interacting seamlessly in the intimate setting of the Linbury Theatre – made it feel as if we were ‘in’ on the entire conversation.
The first half was dedicated to charting their early years and development right through to the present day. It was set against some film clips of childhood exploits, combined with dialogue regaling the differences and similarities in upbringing, expectations and how they both left home as youngsters in order to pursue their chosen professions. Interspersed with these conversations were excerpts from various significant works.
If McRae’s opening statements were very slightly tentative (understandably), he quickly relaxed into easy banter with his deliciously cheeky counterpart, Vassilev. While McRae did not come from a ballet background and yearned to be able to follow his dream, Vassilev’s parents were musicians and went to great lengths to get him to practise. A hilarious film showed him walking around a tree, tied to it, whilst practising his violin, finally being rescued by some friends. Vassilev amusingly admitted that the rescue was staged for the film and that usually he was left to practise until unleashed by his parents. Footage of both men displayed such blatant talent, it was a real joy to witness.
Opening with Vassilev alone on stage (playing Bach’s Prelude in D minor), he was joined by McRae and Lamb who entranced us with a pas de deux (choreography by Loughlan Prior) which seemed to highlight all that is special about their longstanding partnership. Extraordinary supported pirouettes and lifts that depicted an instinctive rapport, a kind of sixth sense, which took it to another level, physically, mentally and most importantly, musically.
A rehearsal studio setting with mirrors and a ballet barre was the realistic atmosphere as the big history reveal ensued. Tan Nicholson slipped into the humorous back and forth like a glove and eventually Lamb returned to rehearse/perform Tchaikovsky’s Russian Dance with McRae. Vassilev played Paganini’s Violin Concerto no. 4, prompting goosebumps, before we watched an excerpt from McRae’s remarkable Czardas (Vittorio Monti). If you haven’t seen him do the full version (in tap shoes) with Vassilev pulling out all the stops, it is worth putting it on your wish list. I'm glad that McRae’s catastrophic injuries were touched on but not made the focus. He should not let his struggles and admirable recovery, define him.
The second half saw the four protagonists returning to the stage in black wigs and suits emulating what Paganini meant to each of them. Time to sit back and relish the drama.
McRae in tapping ecstasy, lay across the grand piano, interrupting Tan Nicholson’s excellent playing. Lamb’s eyes flooded the screen on the backdrop. She is the epitome of the fragile ballerina. She graced the stage with inimitable elegance – those feet, so pointed they could inflict stab wounds! Then we had Vassilev demonstrating that he, just like Paganini, could give a perfect rendition of Rossini’s Variations on ‘Moses in Egypt’ with just one string left standing on his violin. As he visibly ripped the strings from his instrument, we wondered how it would sound. Then we simply sat in a state of wonderment.
All four artists worked their magic. Direction by Natalie Abrahami, lighting by Prima Mehta, set and costumes by Anisha Fields and Tan Rosner’s video designs all played a magnificent part in the overall success of the production. Max Pappenheim, the sound designer, I’m also sure did a grand job but I was too absorbed in Vassilev and Tan Nicholson. This supreme window into two different but connected lives bodes well for future collaborations.
