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The Bolshoi Presents La Bayaderel

Andrey Uvarov

By Don Kolman
The Bolshoi Ballet returned to Orange County’s Segerstrom Hall Tuesday evening, November 27th, after a fifteen-year hiatus. The Bolshoi chose to return to Southern California with the 1991 Yuri Grigorovich version of the Marius Petipa and Sergey Khudekov old warhorse ballet La Bayadere.

It is interesting to note that in recent years La Bayadere has been presented in Southern California by no less than four companies: American Ballet Theatre, the Paris Opera Ballet, the Universal Ballet of Korea, and now, the Bolshoi. In many respects the Bolshoi adaptation is the least satisfying of the four. After viewing the Bolshoi version one comes to appreciate the truly outstanding production that Nathalia Makarova produced for American Ballet Theatre in 1980, which is the most familiar to Southern California audiences. Grigorovich’s La Bayadere seems to lack story focus, and it could do with more dancing and less meaningless mime. The first two acts are extremely long on mime and an endless number of group variations. What little real principal dancing that occurs is crowded, cluttered, and cramped.

Act I begins with what, at times, seems an endless series of incantations of a group of fakirs around a fire. This scene bring to mind that of the three witches in Shakespeare’s Macbeth where it has a valid purpose, but here it appears to be just so much filler, What dancing the fakirs do perform is awkward and appears off balance. The act continues with a series of parading priests and a confrontation scene between the bayadere Nikiya and the Great Brahmin who expresses his love for her. After the exit of the Great Brahmin and priests there is a brief scene between Solor and Nikiya in which they express eternal love. Unfortunately, this scene is observed by the Great Brahmin. The act continues on through scenes with the Rajah informing his daughter Gamzatti that she is to marry the warrior Solor and then his telling Solor that he is to marry the Princess Gamzatti. When the Great Brahmin informs the Rajah that Solor has sworn his love for Nikiya, the Rajah is enraged and decides that the bayadere must die. This story line differs from most other versions where it is Gamzatti who plots the death of Nikiya. With this interpretation Grigorovich presents both Nikiya and Gamzatti as victims of the Rajah.

Act II takes place in the palace of the Rajah prior to and during a great banquet announcing the engagement of Solor and Gamzatti. This act presents a seemingly endless number of group variations. One group of young women performs a dance with large fans in which the choreography seems directly at odds with the music. Other groups dance what appear to resemble more gypsy and Cossack dances than anything one would expect to see in ancient India - most definitely a muddle. This act does, however, present an opportunity for some lovely dancing by Solor and Gamzatti. The problem is that Grigorovich just cannot seem to allow the two principals to dance alone, so he adds several other dancers to accompany them on the sides of the stage. To say that these additional dancers act as a distraction is a gross understatement. It is extremely difficult, if not impossible, to concentrate on the dancing of Solor and Gamzatti. Eventually, at the insistence of the Rajah, the fakir gives the distraught Nikiya a basket of flowers in which a poisonous snake is hidden. Nikiya is bitten by the snake and dies rather than accept the antidote from the Great Brahmin. Thus finally ends Act II.

Act III is most definitely the highlight of this production. The entrance of the Shades is always a joy to behold. Though the entrance scene in this production differs in some respects from that of Nathalia Makarova, it is quite lovely. Grigorovich has each Shade enter on the same foot while Makarova has them enter on alternate feet. Most productions seen here recently utilize a single ramp -- this production uses a double one, adding to the feeling of height and depth. The corps de ballet danced well and the solo dancing was all quite nice.

Nadezhda Gracheva is quite lovely dancing the role of Nikiya, the bayadere. Miss Gracheva is tiny and has an incredibly supple back. At times she appears to bend in half backwards. If a criticism is to be leveled, it would be that she does not do much acting, but simply focuses on the dance. This criticism is equally valid for all of the principals in this production.

Andrey Uvarov, as Solor, is everything one could ask of a danseur noble. He is tall, regal, and has a beautiful line. Early, his partnering appears unsure but improves greatly as the evening progresses. Part of the problem could well be the size difference between Mr Uvarov and Miss Gracheva, as she is simplly too short for him to partner with ease. He has a much easier time with Maria Allash, Gamzatti, who dances well but appears aloof and distant. Her face is expressionless from beginning to end. Anyone dancing and acting this part must be compared with the brilliant standard set by Cynthia Harvey who created this role in the original production of Nathalia Makarova in 1980. Most including Miss Allash are found wanting.

Morihiro Ivata, the Golden Idol, danced this bravura role with panache but was unfortunately a little unsteady at times. Mr. Ivate is extremely small but very fleet. Elena, Andrienko, Ekaterina Shipulina, and Maria Alexandrova each danced their variation in Act III with assurance, accuracy, and style. They were quite lovely.

The corps de ballet was at times ragged, but fortunately well rehearsed and together in the entrance of the Shades. Ably led by Alexander Kopylov, the Pacific Symphony Orchestra set a nice tempo and kept the music moving nicely.

All in all this is an interesting production, though not a really outstanding one. One can look back on other recent productions of La Bayadere by different companies with greater understanding and appreciation.

Orange County Performing Arts Center, Segerstrom Hall, 600 Town Center Drive, Costa Mesa. (714) 556-ARTS. Tues-Fri. at 7; SAt at 2 & 8; Sun. at 2. $20-80. Closes Dec. 1.