Alexei Ratmansky and the new Bolshoi.

THE BOLSHOI BALLET'S tour to the United States this fall is showing off more than the traditional tutus and macho men. Along two popular company brought its new Romeo and Juliet, which takes the dancers off pointe, makes them scream, laugh, and cry out loud, and cuts the epic tale to the bare minimum. There is no gentle poetry, no lyrical love duet, no sword fighting, no nurse, no doll, no childhood. The setting is stark and brash with striking images, raw emotions and theatricality--a ballet to the contemporary taste. Created by the renowned British theater director Declan Donnellan on his first foray into the world of dance, with choreography by the Moldovan, Radu Poklitaru, this Romeo sees Juliet in pants, Mercutio in drag, and an ever-present corps. The ballet premiered at the Bolshoi Theater last December, and raised the hackles of the fierce British critics at its first London sighting in July.

The six-week tour is also introducing the Bolshoi's new young artistic director, Alexei Ratmansky, a Ukrainian who, although a graduate of the Moscow Choreographic Institute, never danced with the company. Born in St Petersburg, he danced first with the Kiev State Ballet for six years before setting off for the west. From 1992-5 he was principal with the Royal Winnipeg Ballet and in 1997 joined the Royal Danish Ballet, becoming a principal in 2000. A prolific choreographer, his works appear in Russian and international companies like the San Francisco Ballet. Ratmansky officially took the reins of the Bolshoi in January, but commitments kept him abroad until May. The company's London season this July was his first overseas tour in his new job.

At the Royal Opera House, Ratmansky talked about his expectations for the fall tour. "I think the American public will like what they see, as the program represents the Moscow style of both the past and the present. Gorsky's Don Quixote is full of life and color, with wonderful character dancing; Grigorovich's Raymonda shows off our very fine female corps and is for those who like tutu ballets; and, of course, the new Romeo and Juliet, which has been an important step for us. It is different from anything the Bolshoi has done before and could be irritating for those who want the original scenario with all its characters and duets. But this is a different genre, a dance drama," Ratmansky added. "Dancers get bored performing the same classics and ours have enjoyed this new experience. They now feel free with the unusual movements--after all, the classical tradition is always upright and straight. Works like this are developing our artistic creativity."

Next season, Ratmansky will choreograph Bolt to Shostakovich's score. "The story is unballetic, the music uneven, so it will be challenging," he commented. He will also restage three Leonide Massine ballets--The Three-Cornered Hat, Gaite Parisienne, Les Presages--never before seen in Russia. He hopes to invite talented young Russian choreographers like Yuri Possokhov to create for the company; Possokhov's San Francisco Ballet commission, Magrittomania, proved a hit when Ratmansky introduced it to Moscow in May.

"New works give the opportunity to be alive," continued Ratmansky. "I know that not everyone likes the idea of the Bolshoi changing, hut we must progress. It's good for the dancers."