The Australian Ballet is heading to Sydney with Nijinsky – a searing story of genius, fame, violence and illness. The dance drama is set in 20th-century Paris, following the tumultuous life of the visionary dancer and choreographer, Vaslav Nijinsky. Broadsheet Access members can score a free double pass to see the performance, accompanied by a live orchestra, at the Sydney Opera House on April 19.

Callum Linnane – one of Australia’s leading dancers – is playing Nijinsky for the second time. He attended The Australian Ballet School in 2008, joining the company soon after, and has been on an upward trajectory since – climbing from coryphée to soloist, to senior and principal artist. We chat all things Nijinsky and beyond.

Can you tell me about The Australian Ballet’s version of Nijinsky?
It was choreographed by John Neumeier in 2000, so the production is 25 years old. His body of work is huge, but he’s always had this fascination with Nijinsky as a man. We [The Australian Ballet] first did it in 2016, and we’re one of four companies in the world. And yes, it’s biographical in a sense, but it’s not chronological and it’s not linear. The staging is very clever – it starts and finishes in the same place. John calls it “a biography of a soul”.

How did you get into ballet? Was there a moment when it clicked and you knew, this is what I need to do?
I got forced into dance lessons by my mum. Which I thank her for now. I was seven or eight years old, and I had a knack for movement. So my mum found a little school in Ballarat, where I grew up, and they suggested I do tap-dancing – it seemed like the least offensive to a young boy. I was utterly devastated. I was terrified people at school were going to find out. But mum said, “Try it for a year, then you can quit.”

At the end of the year, we did our first onstage concert, and that’s what hooked me. Being in the wings, that excitement. It was also getting satisfaction out of challenging myself, and it seemed kind of unattainable, which can be addictive. And I had a good teacher. As a child, if you have someone telling you, “Hey, you could be great at this”, it’s music to anyone’s ears.

Who was the first person you called when you found out you’d be the principal artist in Nijinsky?
I got cast in this part in 2016, when the company first did it, and I was 20. It was my first principal role – I remember thinking “That’s mental” and calling my mum straightaway. Now, I’ve been in the career for 10 years and, not to say I’m jaded, but I don’t really tell people about my casting. Mum seems to be the only person who’s still interested. I’ll usually send her a text. It’s always mum. [Laughs.]

You’re playing a really complex role, Nijinsky is so layered. Do you have any methods for getting into character before you step onstage?

When I did the Melbourne run of Nijinsky, I’d get to my dressing room, and I would lay on the floor and meditate for about 10 minutes. And that’s purely to calm myself down. From that point, I’d shower, shave, do my hair and warm up. As I’m doing this, I’m mainly trying to get in my body, and stay calm. When you’re calm, that’s when you perform the best.

What’s been the most challenging part of playing Nijinsky?
Oh gosh, everything to be honest. It’s the most rewarding and fulfilling role I’ve ever done. It’s also the most physically, mentally and emotionally demanding. There’s hard dancing – the fitness you need is immense. There are times when I have to throw my body on the floor, and it hurts. You end up with bruises.
On the mental side, I feel totally wiped at the end of a show. There’s a place at the end, where Nijinsky’s mind sort of splits open. The whole ballet, you’re on this trip, and by the end it really does feel like I’m going off the edge. It’s been two weeks since the show finished in Melbourne, and I’m exhausted.

In those two weeks, how have you recharged?
I’m sleeping a lot. I crawled into bed at 8.30pm last night and slept for 10 hours. Absolutely stunning. I have welcomed the crash. That’s the most efficient way to build yourself up again. So mainly just sleeping and trying to be a normal person again. When I was doing Nijinsky in Melbourne, I wasn’t a normal person. My life needed to revolve around the shows.

Do you have any recs in Sydney for coffee, a glass of wine, bite to eat, place to stay or shop?
My favourite place for a post-show drink is Restaurant Hubert in the city. Finishing a show at 10pm, it can be hard to find food that’s done late. They serve food until midnight, and I love to get a burger and glass of wine. There’s the Royal Hotel pub in Paddington, great for a sunny beer on a Sunday arvo. I’ll always go for a coffee at Reuben Hills. And one of my favourite places in Sydney is Golden Age cinema. They’re always programming the best films.

Obviously, you’re at the top of your game and a lot of aspiring dancers would be looking up to you. What’s your biggest piece of advice to them?
Find the things you love about dance and home in on them. Let that inspire you, whatever direction it might take you. It’s easy when you’re young to fall into what everyone else thinks ballet should be. Really listen to what you value, and your individuality will shine through.
And be a well-rounded person. Humanity shines through onstage, so focus on being the best human being you can. You can’t hide onstage. And if you’re interested in dance, be interested in other art forms as well. Read books, watch movies and plays, listen to music. Dip your toe into as many things as possible, and it will inform the type of artist you end up being.

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