KIROV BALLET.

RATS IN THE MARZIPAN KIROV BALLET MARYINSKY THEATRE ST. PETERSBURG, RUSSIA FEBRUARY 12, 2001

Regular Maryinsky theatergoers could scarcely recall so much interest in a premiere as that which surrounded the new production of The Nutcracker. The event precipitated traffic jams around the theater, a grand entrance by the mayor and his entourage, a more than half-hour curtain delay and finally, a standing ovation.

The commotion arose because the artistic director of the theater, conductor Valery Gergiev, gave the task of reconstructing The Nutcracker not to a choreographer but to an artist, Mikhail Chemiakin. This talented St. Petersburg native was forced to immigrate to the United States twenty years ago, because of his incompatibility with the canon of social realist art. Having won acclaim in Russia and in the Russian-speaking diaspora, he re-established his ties with his native city by gracing it with some sculptures. Not everyone accepts his artistic fantasies, but the potential for discussion heightened the extraordinary interest in his theatrical debut. In the new Nutcracker, Chemiakin's role extended not only to designing the scenery and costumes, but also to reworking the libretto. The role of new choreographer Kirill Simonov was limited to the creation of individual dances.

The opening scenes depict a world of bourgeois plenty--huge chunks of meat and bottles of wine appear in the great hall; hunting trophies--a moose head and rhinoceros--adorn the wall. Here, the Christmas celebration is just an excuse for the characters to stuff their faces, and dancing is a way to settle the stomach. In this world, the heroine (known here as Masha) is the neglected daughter. Her loneliness doesn't interest her parents and their guests. Only Drosselmeyer (the mime Anton Adasinsky, performing by special invitation) pities the girl, and gives her the Nutcracker, who becomes her long-awaited friend.

The nighttime battle scene draws the audience's eyes across the stage. The toys aren't battling a nest of rats, but an entire rat kingdom: an emperor with his family, officers wearing smocks and wielding swords, soldiers, even a rat artillery. The traditional throwing of the shoe stops the bloody battle, and Masha and her Nutcracker escape into another world on a huge plane made from a shoe. The obstacle in their path is a storm (the female corps de ballet in black tights, tutus, and hats with menacing snowflakes). The wind's dance (also known as the Waltz of the Snowflakes), is set to harp accompaniment, but occurs in an abandoned church courtyard, where children holding candles illuminate the specter of a rat in a hooded cloak. Tchaikovsky's wonderful music, played up-tempo, also becomes aggressive. After vanquishing these challenges, the protagonists carry on to the second act.

The sweet city, Konfetenburg, is sickeningly sweet. Caramel columns are covered with flies and caterpillars; giant lollipops parade around the stage. The Human Fly and the Nutcracker battle with swords. The character dances get lost in this unending masquerade. Masha finally kisses the Nutcracker, turning him into the prince. The heroes' pas de deux and the Waltz of the Flowers bring hope, but the finale is menacing: A multilayered cake rises in the middle of Konfetenburg, adorned by marzipan figures of Masha and the Nutcracker. Nestled in its midst are baby rats.

Natalia Sologrub brought beautiful technique and acting ability to the role of Masha, who experiences both happiness and sadness over the course of the story. Andrian Fadeev's Prince managed his difficult variation, despite a too-fast tempo. Unlike Vasily Vajnonen's purely classical 1934 production, this Nutcracker combines classical and neoclassical style with modern technique, grotesque dance, and pantomime.

Russian reviews were mixed, and some professional critics were harsh, sometimes to the point of cruelty. Those who wanted to see Chemiakin's "live paintings" were not disappointed, but ballet lovers were more skeptical. Production sponsor Alberto Vilar, the donor who will sponsor the Kirov at the Kennedy Center in Washington, D.C., included a program note that he intends to present this production on major world stages, but because of the mixed reviews that greeted this Nutcracker, that remains to be seen.