As a professor in Princeton University’s music department specializing in Russian and Soviet music and dance, Simon Morrison is an expert on the famed Bolshoi Theatre. The Moscow arts institution has been frequently in the news since the bizarre acid attack last January that left Sergei Filin, the artistic director of the Bolshoi Ballet company, nearly blind.
Mr. Morrison, who is writing a history of the 227-year old theatre, has been frequently called upon by The New York Times and other news outlets to comment on the volatile situation, especially since Russian dancer Pavel Dmitrichenko was found guilty this month for his role in the attack. A Moscow judge ruled that the dancer and two co-defendants had intentionally caused grievous bodily harm to Mr. Filin, who had a jar of acid thrown in his face by a masked assailant.
Mr. Dmitrichenko, who maintained that he wanted Mr. Filin roughed up but didn’t expect acid to be hurled in his face, was sentenced to six years in prison. Yuri Zarutsky, convicted of carrying out the attack, got 10 years.
“The horrible part of Dmitrichenko’s defense is that he said what happened to Filin wasn’t so bad,” Mr. Morrison said during a recent interview in his office at the University’s Woolworth Center of Musical Studies. “But I was in Moscow in October and I met Filin, and what was done to him is ghastly. He has crimson lines on his face from the battery acid that was used.”
The attack last January left Mr. Filin writhing in pain in the snow outside his apartment building. The incident revealed the bitter behind-the-scenes rivalries that exist at the Bolshoi. Mr. Dmitrichenko was reportedly angry with Mr. Filin for denying him and his girlfriend, a ballerina, important roles in Bolshoi productions. Mr. Filin said that Mr. Dmitrichenko had spread false rumors about him having affairs with ballerinas. Defense witnesses portrayed Mr. Filin as imperious and Mr. Dmitrichenko as a champion of those afraid to speak out against the artistic director.
“The problems are multi-layered,” Mr. Morrison said. “It seems clear that there were favorites. There was no proper collective agreement. No union represented the dancers properly. So if you got sick or got pregnant, you were in trouble. That absence of a proper collective bargaining agreement is the cause of the problem, and it needs to be fixed.”
The Russian government dismissed the Bolshoi Theatre’s longtime director Anatoly Iksanov last July. The new director, Vladimir Urim, is trying to make things more equitable. “He’s a no-nonsense guy,” Mr. Morrison said.
Mr. Morrison has lectured and written articles on numerous topics related to Russian and Soviet music and dance. He is the author of the book Lina and Serge: The Love and Wars of Lina Prokofiev, which was published by Random House this year. He plans to return to Moscow next month to do more research on his history of the Bolshoi Theatre. He has done extensive studies of the works of composers Shostakovich and Prokofiev, both of whom were involved in the Bolshoi.
“I’ve loved ballet for many years,” Mr. Morrison said. “I took some classes as an adult, just to know what I’m talking about. I’ve been involved in staging historic projects on campus. And it has become a real addiction, through research.”
Mr. Morrison said he was surprised that Mr. Dmitrichenko was sentenced to six years in prison instead of the 12 that Mr. Filin’s lawyer requested. “Given how volatile he is, he will have a hard time,” he said of Mr. Dmitrichenko. “He’ll go to a ‘strict regime’ prison, and he’ll be made to work a lot.”
The recent scandal will play a minor but important part in Mr. Morrison’s upcoming book. “It’s not the main part of the book, but something I have to mention,” he said. “And it’s relevant, because it’s reflective of the system of the past.”