29 November 2025
A few times a year, the restored Petipa masterpiece “The Pharaoh’s Daughter” runs on the expansive Mariinsky-2 stage. This three-act, nearly four-hour extravaganza features lush sets and costumes, and everything from a walk-on camel (performed by two adult men), a lion (done in the same manner), a jungle monkey (performed by an Academy student), and live horses to pull the Pharoah’s chariot. The detailed sets feature a tropical jungle with sparkling waterfall, an exquisite Egyptian palace and the beautiful underwater scene in Act 3 complete with a giant clam shell “elevator”. The production revives step sequences and technique typical of the era in which it was created – it’s as if a black-and-white film of Vaganova, Pavlova and Ksessinskaya’s era has been doused with color and brought to life— even if some of the steps and poses seem unusual to modern eyes. We witness final poses on flat foot in fourth position (or in third with the front foot in half pointe), chainé turns in pointe shoes done on half-pointe, renversés with the torso bent sideways during piqué turns, and other components of technique that have long since left the standard classical canon of the 21st century.
And yet “Pharoah” is decidedly alive. The short performance block scheduled on the eve of what will be two months of “Nutcracker” was met with lines 100 people long waiting to purchase tickets for just the matinee. Although this production premiered a few years ago, it fills houses much more quickly than some more modern works. And for the first matinee, the house was indeed full with well-wishers and fans waiting to witness Maria Iliushkina, Even Capitaine and Elena Evseeva in the three leading roles.
It’s easy to imagine the mindset of the Petersburg public back in 1862 when this ballet premiered. Without television, radio or smartphones, a four-hour day at the theatre would be the highlight of their week, a social outing filled with a chance to display one’s clothing and jewels, and likely the most indulgent form of entertainment possible. Given the primitive nature of stage mechanics in that era, the “Pharoah” staging is impressive indeed: an onstage “sandstorm” with waving palm trees and strong winds forces Lord Wilson, the British explorer played by the Mariinsky’s resident and regal Frenchman Even Capitaine, debonaire in his white safari suit, and his servant Pasifont, danced by the light-footed and humorous Aaron Osawa-Horowitz, to take refuge in a nearby pyramid. Inside the pyramid, guards inform them how of one of the Pharoah’s daughters was laid to rest in the sarcophagus there. Wilson, Pasifont and their entourage all smoke opium pipes on the pyramid floors and drift into a sleepy dream in which a miracle occurs. The “mummy” of the sleeping Aspiccia awakens, her skin glowing in an ethereal bluish white hue, her garments sparkling with blinding light, as if the jewels and had just moments ago been polished and sewn onto gold fabric. It’s a moment of master staging by Toni Candelori who along with Juan Beaucamp decoded some of the historical choreographic records.
If accurate to its historical state, “Pharoah” is nonetheless heavy on variations. In Act 2, we see two duets, a trio, and then a pas de six that includes three additional soloists. It’s the one section in the ballet that tends to slow the ballet’s pace and rhythm. Act 3 features no fewer than 6 dancers performing variations that represent 6 different rivers (the Rhine, the Neva, etc) and that’s in addition to Aspiccia’s mournful solo and the corps de ballet’s “Giselle like” crossing – only here they have seaweed instead of ivy vines sewn to long white skirts.
At the start of Act 1, the audience is easily seduced in the jungle scene: a world of survival where a large group of huntresses adorned with tiger hides on their tutus hold bows-and-arrows in search of prey. This section features several processions: the guards holding spears, the huntresses themselves, and then the entrance of Aspiccia with Ramzeya (her assistant). The latter are the two protagonists, performed by Iliushkina and Evseeva, two of the strongest proponents of the pure Vaganova style and equally capable of this demanding choreography. To witness these ballerinas perform these respective roles is to observe a visual illustration of Petipa’s style: Iliushkina is a regal, gentle, but expressive Aspiccia; Evseeva a majestic, driven, and animated Ramzeya. They set out on a hunt, Aspiccia is stung by a bee, and Taor (Lord Wilson transformed into an Egyptian in this “dream” of his), saves her, then expresses his love by blowing her a kiss. The two fall in love, and the Pharoah invites Taor to his palace.
But at the palace, events take a turn for the worse: Aspiccia is promised in marriage to Nubian Tsar, performed by an expressively vicious Dmitry Pikhachev. In despair, she enters with a curved African hunting knife in hand and performs a desperate series of entrechat quatre-royale jumps, done crisply with visible torment. Iliushkina performed these with sprightly velocity and discernable angst. The challenge in the libretto is clear: how can she escape this arranged marriage to be with Taor?
In her Act 2 variations, Elena Evseeva displayed lovely épaulement during hops on pointe, a pirouette done in low retire passé (the choreography is set with this particular position), and the series of cabriole pique arabesques with her hunting bow held aloft. Her choreography leaves little time for rest, it is demanding petit (or grand) allegro that continues nonstop. Although still a soloist, Evseeva continues to perform principal roles with star-like quality and unfailing reliability.
As Taor, Even Capitaine faces Bournonville-type jump sequences –along with Iliushkina they perform a series of quick small ballonés in synchronicity and challenging partnering arrangements with ease. His bearing as both Lord Wilson and Taor suggests royalty – this dancer is a prince, if anything – and he never falters. But the two manage a comic sequence in the Fisherman’s Hut scene in Act 3 when they both mime a “tall tale” of being lost at sea to explain who they are. Iliushkina’s pantomime here is clear and comical. Capitaine supports her with believable gestures and certainty.
The rest of the libretto is detailed but lengthy. In the end, Aspiccia achieves her wish, Lord Wilson awakens, and it’s unclear where dream ends and reality begins. The November 29th performance proved once again the utter mastery of Mariinsky dancers in pure classical works. “Pharoah” is a gem that hopefully will remain in the rotating repertoire for years to come, with more frequent repetition each season.