Capitalizing on Ballet

Vitali Artyushkin and his wife, Alla Khaniashvili-Artyushkina, are the latest Bolshoi dancers to capitalize on perestroika in Southern California. And dancing in the Long Beach Ballet’s “Nutcracker”--10 performances in the Terrace Theater, today through Dec. 24--turns out to offer the Soviet guests and their host, director David Wilcox, an equitable quid pro quo.

“We get to dance,” says Vitali, “and the company can hopefully sell more tickets because of us.”

A bronze medalist at the 1984 Osaka International Ballet Competition, Artyushkin says that in Moscow, “dancers stand in line to perform . . . There are at least 30 principals waiting in the wings for their chance. But Alla and I simply need to dance more, so we’re open to all invitations. It’s an excellent trade-off and even our daughter (6-year-old Katya) gets onto the stage, as one of Mother Ginger’s kids.”

On leave from the Bolshoi this year, the Artyushkins are residing in Los Angeles and finding Yuletide a business season. It includes another “Nutcracker” performance with the Palos Verdes Ballet and five more with the Chicago Ballet; as the Cavalier and his Sugar Plum Fairy they simply import their own pas de deux, with variations by Grigorovich and Vainonen.

What they notice, intermingling with American dancers, is a crucial difference between themselves and their new colleagues.

“Here, people dance for fun,” says Vitaly. “In the Soviet Union, we’re professionals beginning in childhood. It’s serious business. And if you don’t want to be serious you get out.”

Will they be looking for more invitations during this stay?

“Yes, of course. We would love to dance with American Ballet Theatre and the others. Right now, we’re learning the ways of capitalism, how to market ourselves and make the right contacts.”