"Nureyev: The Russian Years" Pregame

We're finding out more and more about the documentary, "Nureyev: The Russian Years," every minute.

First, the documentary's producer, John Bridcut, stopped by our blog to clear up the confusion over the PBS/BBC versions of this project:

As the producer of the Nureyev documentary, I should make clear that the BBC, which commissioned the film in the first place, decided to use the title "NUREYEV: From Russia with Love". It will be screened on BBC2 on September 29th in the UK, and on the BBC HD channel. PBS is broadcasting a slightly shorter version of the film (six minutes is the difference), and elected to call it "NUREYEV: The Russian Years". Broadcasters often choose different titles, according to what they believe will resonate with their particular audiences.

Then, from Tobi Tobias' Voice of Dance review, "A Portrait of the Artist as a Young Man" (also available at her own blog), we learn some more about the source of the earliest footage of Nureyev:

Much of this early footage was shot by Teja Kremke, an East German ballet student who became Nureyev’s lover when they were both young. (Julie Kavanagh, whose exhaustive biography, "Nureyev: The Life," will be published by Pantheon next month, tracked it down, and served as consultant to Bridcut’s project.)

I hadn't realized that Kavanagh was so involved in the documentary, as well. I'm sure all of these things will probably be as clear as day once we see the documentary tonight.

From the New York Times' article, "The Nureyev Nobody Knows, Young and Wild," we learn that this, earliest, film footage is of Le Corsaire, no less (a Nureyev role that we obviously love):

The earliest known film of Nureyev dancing was made at a student competition in Moscow in 1958. At 20, dressed only in white harem pants, a gold headband and regulation soft slippers, he tears off a solo from “Le Corsaire.” The leaps and spins come thick and fast, embellished with Arabian Nights flourishes that go well with his Tatar allure. Yet the most seductive moment of the dance comes between the circus tricks, with a little nothing of a step called pas balancé. A sweep of the leg here, an echoing sweep of the arm there, and repeat, to the other side — that was all, then straight into the next cyclone of a pirouette. But that throwaway transition was Nureyev’s invitation to join him in his private world of fantasy. Technically, the narrator of the Bridcut film points out, Nureyev’s performance at the competition was “far from perfect.” But already the imprint of his personality was unmistakable.

Haven't had enough? There's still more coverage over at the Buffalo News, from Karyn Collins at Asbury Park Press, and from the Rocky Mountain News.