April 2012 Moscow Festival Ballet performing Cinderella at the Fox Theatre

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10 The Best of Russian Ballet, Old and New

The Moscow Festival Ballet performs Cinderella.

30 Fox Fun Facts What do you know about the

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DEparTmEnTS26 information28 Staff/Etiquette

15 Program and notes

ThE pErFormancE

covEr PhoTo by: jEnny SchiSlEr hinEly

April 2012

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Once upon a time, Russia had a famous ballet company called the

Bolshoi. Even now the troupe, which dates to 1776, is known for its bold blend of technique and athleticism.

Its archrival has always been the Kirov Ballet, as it was called in the old Soviet Union and still is today when on tour. It dates to the 1740s and, like the Bolshoi, employs more than 200 dancers. Unlike the Bolshoi, the Mariisnky Ballet as the Kirov is now known, promotes pure and refined classicism. It’s alumni are an only-one-name-needed who’s who of Russian ballet — Baryshnikov, Pavlova, Nijinsky, Nureyev.

The Moscow Festival Ballet, by contrast, is youthful. It was born in

1989, when longtime Bolshoi principal Sergei Radchenko added live bodies to his dream of blending the Bolshoi and Kirov techniques, a different kind of pas de deux. His company now numbers about 50 dancers, give or take.

They perform such timeless classics as Giselle, Don Quixote, Paquita, Swan Lake and Carmen but specialize in full-length 20th-century ballets — Prokofiev’s Romeo & Juliet and Tale of the Stone Flower, Arif Malikov’s Legend of Love, Shostakovich’s The Golden Age and, as they do for you today, an enthusiastic Cinderella.

Cinderella, also by Prokofiev, was composed between 1940 and 1944. It features all the elements of the familiar story — the mistreated but kind title

the best of russian ballet, old and new

10 EncorEAtlAntA.com

By Kathy Janich

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Fill out the form below and use The Fox Theatre lobby drop box, or take it to your nearest Fifth Third Bank location.

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character, her evil stepsisters, her equally vile stepmother and the prince who takes our heroine away from it all. In this version, based on Cendrillon by French storyteller Charles Perrault (1628-1703), the Fairy Godmother is a beggar who reveals herself as a fairy. Grasshoppers and dragonflies are among those who dance to life.

Expect this Cinderella to be colorful and comic as well as romantic. The stepsisters and their mother, for instance, wear prosthetics that exaggerate their facial features. It’s more bawdy than refined in tone, a nod to its Bolshoi influences.

Artistic director Radchenko founded the company in the fresh air of glasnost and perestroika, two years before the Soviet Union ceased to exist, and grew it in the burst of activity that followed. Some in the ballet world have argued, however, that the caliber of Russian ballet — outside the Bolshoi and Kirov — has flat-lined since the strict Soviet system went the way of the Berlin Wall.

Still the Festival Ballet, which tours a good chunk of every year, has received plenty of positive reviews on its visits to the United States (in 1997, 2001, 2004, 2006, 2010 and now this four-month coast-to-coast endeavor):

• In Las Vegas: “This was an afternoon that deserved ‘bravos’ within minutes of the opening steps.”

• In Durham, N.C.: “An impressive performance of a classical ballet, energized with dramatic expression and sensational steps.”

• In Charleston, S.C.: “The dancers ... spoke to the soul through the body.”

For Radchenko, Moscow Festival Ballet is a fairy tale come true, his happily-ever-after story. He studied at the Moscow School of Dance in 1964, and then spent 25 years dancing with the Bolshoi (his speciality being the bullfighter in Carmen). He was able to make the leap, a grand jeté of sorts, from old Russia to the new.

And now he and his dancers close the geographic gap. Even though Moscow is 5,389 miles from Atlanta, for a few hours it will be right in front of you.

Kathy Janich, Encore Atlanta’s managing editor, has been seeing, covering or working in the performing arts for most of her life. She spent 25 years in daily newspapers and was most recently on staff at Atlanta’s smart, bold and gutsy Synchronicity Theatre.

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Moscow Festival Ballet performing Cinderella

The Fox TheatreAtlanta, Georgia

April 3, 20127:30 p.m.

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CINDERELLAFull-Length Ballet in Three Acts

Music by Sergei ProkofievLibretto: Nicolai Volkov

Choreography: Rostislav Zakharov Sets and Costumes: Elisaveta Dvorkina

Lighting: Marina Borodina

ACT I

Cinderella’s House

--INTERMISSION—

ACT II

Scene 1: The Palace

Scene 2: Cinderella’s House

Cinderella Marianna Chemalina; Maria Sokolnikova

Prince Alexander Daev, Mikhail Mihaylov, Aydos Zakan,

Stepmother Alexander Daev, Evgeny Rudakov

Two Ugly Sisters Natalia Ivanova, Elena Khorosheva

Fairy Godmother Ekaterina Egorova

Jester Viacheselav Tapcharov

Fairies of the Seasons Princesses:

Spring Viktoria Krakhmaliova

Summer Anna Petushinova

Autumn Ekaterina Pankovskaya

Winter Maria Klyueva, Olga Gudkova

Ambassadors:

Mauritanian: Samat Abdrakhmanov

Spanish: Dmitry Schemelinin

Chinese: Evgeny Rudakov

Russian: Anton Baglikov

Plus the Corps de Ballet

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ACT ICinderella’s House

Cinderella’s stepmother is busily embroidering a scarf she will wear to the Palace Ball that evening. Father is also in the room, and the Stepsisters tease him unmercifully. Cinderella enters and stops them. They turn on her furiously and the Stepmother orders her to clean the room. The Stepsisters drag Father from the room. Cinderella begins sweeping as ordered, takes a portrait of her deceased mother from its hiding place and gazes at it longingly. Her Father returns and is overcome with remorse when he sees the resemblance between Cinderella and his first wife. His daughter lovingly tries to reassure him, but they are dragged apart by the Stepsisters, who also snatch away the picture.

Suddenly, the door opens and an old woman enters, begging. The Stepmother gives her the picture of Cinderella’s mother to get rid of it, but the beggar woman sees the resemblance to Cinderella and hands it to her. Cinderella offers the woman some bread, which she accepts, and then departs.

A dressmaker and wigmaker arrive to adorn the Stepsisters for the Ball, followed by a dancing master, who attempts the impossible task of teaching the Stepsisters the rudiments of dancing. The family departs for the Ball, with the exception of Cinderella, who remains behind. She tries to assuage her loneliness by pretending that the kitchen broom is her partner at the Ball, but the pretense is too much for her, and she bursts into tears. At this moment, the beggar woman returns and changes into a beautiful Fairy Godmother, who transforms the kitchen into a forest, complete with Dragonflies swooping among the trees.

The Fairy Godmother gives Cinderella a pair of glass slippers, and the Fairies of Spring, Summer, Autumn, and Winter perform for her, changing the seasons as they dance. Cinderella’s rags become a beautiful gown, but the Fairy Godmother shows her a clock, and warns her that at midnight, the magic gown will change back into rags. She then transforms a pumpkin and four lizards into a coach and horses, and Cinderella is driven to the Ball like a princess.

INTERMISSION

ACT IIScene 1: The Palace

At the Palace, a Jester welcomes the arriving guests, who are all somewhat taken aback by the Stepsisters. The Prince enters and greets the assembly, then gallantly invites each of the Stepsisters, in turn, to dance with him, much to the amusement of the guests. At this moment, the Ball is interrupted by the arrival of Cinderella in her coach, and the Prince immediately falls in love with her. The guests are offered

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oranges -- the rarest food to be had -- and when one of the Stepsisters is left without one, Cinderella gives up her own, without the Stepsister realizing her identity. While the Prince and Cinderella are dancing together, the clock strikes midnight. Cinderella’s clothes turn to rags and she rushes from the ballroom. The Prince cannot restrain her, but finds one of the glass slippers, which she has lost in her haste.

Scene 2: Cinderella’s HouseBack in the kitchen, Cinderella remembers the Ball as if it were a beautiful dream, but finds the remaining glass slipper in one of her pockets. She quickly hides it as the Stepsisters return, proudly displaying the oranges the Prince gave them. The Stepmother announces the arrival of the Prince with his Jester and courtiers in search of the owner of the glass slipper they bear with them. Each Stepsister vainly tries to squeeze an oversized foot into the tiny slipper. When the Prince notices Cinderella sitting shyly by the fire, he asks Father if she may try it on. As she moves to do so, the second slipper falls from her pocket. The Prince is overjoyed in spite of Cinderella’s ragged appearance, and asks her to marry him. Cinderella forgives her Stepmother and sisters for their previous cruelty to her.

As the Prince returns the glass slipper to the Fairy Godmother, the kitchen is transformed into a magic glade where Cinderella and her Prince dance a romantic pas de deux. The guests return to acclaim their new Princess at her betrothal.

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MOSCOW FESTIVAL BALLETArtistic Director: Sergei Radchenko

The Moscow Festival Ballet was founded in 1989 when Sergei Radchenko, a Bolshoi Ballet principal dancer, sought to realize his vision of a company that would bring together the highest classical elements of the great Bolshoi and the Kirov Ballet companies in an independent new company within the framework of Russian classic ballet.

Leading dancers from across Russia have forged under Radchenko’s direction an exciting new company staging new productions of timeless classics such as Giselle, Don Quixote, Paquita and Carmen.

Since its inception, the Moscow Festival Ballet has completed two tours of Europe, with extraordinary receptions in Italy, France, Spain, Germany and the Netherlands. Two tours of the United Kingdom, including capacity audiences at London’s famed Coliseum, have resulted in re-engagements during the 1995-96, 1996-97, 1997-98, 1998-99 and 1999-2000 seasons.

The company has also performed with great success in Turkey, at the Istanbul Festival, and in Greece, at the Athens Festival, and recently completed a two-month tour of Japan, Korea, Singapore and Hong Kong. Under Radchenko’s direction, the Moscow Festival Ballet continues to expand its repertoire. In addition to commissioning new works from within Russia and abroad, the company specializes in full-length 20th-century ballets such as Cinderella, Romeo and Juliet, Legend of Love, Stone Flower and The Golden Age. Mr. Radchenko has researched the original choreography and stage productions of several of Marius Petipa’s classic ballets, including new productions in 2000 of Don Quixote and Paquita, and a re-creation of Jules Perrot’s and Jean Coralli’s Giselle.

The Moscow Festival Ballet has toured extensively in the United States, beginning with a coast-to-coast tour in the winter/spring 1997 and in 2001, 2004, 2007 and 2010.

SERGEI RADCHENKO, Artistic DirectorBorn in 1944, Sergei Radchenko graduated from the Moscow School of Dance in 1964 and joined the Bolshoi Ballet, where he worked for 25 years. He danced the entire repertoire at the Bolshoi, but enjoyed a special reputation for Spanish dance, particularly the role of the bullfighter in the Bizet-Shchedrin Carmen Suite. He is the founder and artistic director of the Moscow Festival Ballet and has achieved a remarkable feat in the establishment and development of this young but great Russian ballet company. Mr. Radchenko presents a large number of master classes, inviting leading teachers from the Bolshoi and Maryinsky theatres to ensure the continuation of the rich traditions of the Russian classical school.

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The TheatreA fully restored 1929 “Movie Palace,” the Fox Theatre, with 4,678 seats, is a multiple-purpose facility, housing Broadway shows, ballet, symphonies, concerts, movies, and private corporate events.

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1. Please arrive early. Latecomers may not be seated until intermission.2. Take care of personal needs (drinks of water or restroom) before the performance begins. 3. Please silence or turn off all electronic devices, including cell phones, beepers, and watch alarms. We encourage you to share your experience at the Fox via social media, but please refrain from doing so or texting during performances; the glow from your device is distracting.4. Most shows do not allow photography of any kind. Flash photography inside the theatre is never allowed as it is a distraction to those around you and a danger to the performers.5. The overture is part of the performance. Please cease talking at this point. 6. Dear Lovebirds, when you lean your heads together, you block the view of the people behind you. Please consider the people that will be seated behind you when choosing whether or not to wear a hat or what hair style you choose. 7. Please refrain from talking, humming, or singing along with the show, except when encouraged to do so by the artist or show. 8. Please wait for an appropriate moment to dig something out of your pocket or bag. 9. Go easy with the perfume and cologne, many people are highly allergic. 10. If you need assistance during the show, please go to your nearest volunteer usher. If additional assistance is needed the usher will get the appropriate person to further help you.11. Yes, the parking lot gets busy and public transportation is tricky, but leaving while the show is in progress or before the actors have taken their final bows is discourteous. Wait until it is over and then exit with the rest of the audience.

FoX Fun FacTS: FoX archivES


The Fox Archives has over 500 original signed star photos stored in its temperature and humidity controlled Special Collections Room.

When restoration work requires the removal of original brick, finish, or plaster from the building, a part of the original material is saved in Archives for future reference.

The Fox retains fragments of the original fabrics that once covered its historic furniture. These remnants are critical components in recreating reproduction fabrics and patterns.

The Fox Theatre’s poster collection comprises over 1,100 show posters dating back to the 1930s.

In recognition of the Fox Theatre’s contribution towards sales in excess of 500,000 copies, MCA Records presented the Fox with Lynyrd Skynyrd’s One More from the Road gold album.

When the Fox opened in 1929, it housed a projection booth full of state-of-the-art equipment, including a

1928 Brenkert F-7 Master Brenograph projector to project effects, backdrops, and lantern slides featuring lyrics of songs that were popular at the time. The Fox Lantern Slide Collection is comprised of approximately 569 song titles, made of up countless individual glass slides for each song.

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The Fox Archives, also know as the Special collections room, currently houses countless architectural drawings, show posters, historic photographs, glass lantern slides, and many Fox artifacts and recordings. Some fun Fox Archives facts:

“Bicycle Built for Two” lyrics on a glass lantern slide, Madonna’s signed photograph and Lynyrd Skynyrd’s gold album are all stored in the Fox Theatre’s Special Collections Room.

April 2012 Moscow Festival Ballet performing Cinderella at the Fox Theatre

Documents

Transcript of April 2012 Moscow Festival Ballet performing Cinderella at the Fox Theatre