In his performance, the choreographer focused on the figure of Paul I – one of the most mysterious and contradictory characters in Russian history. Boris Eifman restricted the chronological scope of the production to Paul’s life as the heir to the throne and brilliantly portrayed the tragic confrontation between this extraordinary and fragile personality and the hostile world built on violence, treachery and lies.

During the years of its active stage life, the ballet was performed with incredible success in the USA, France, Italy, Germany, Austria, China, South Korea, Argentina and many other countries. “With so many new solutions and artistic metaphors, with such levels of emotional intensity, this time Eifman outperformed himself, as he really has no one to compete with. Two leading ballet critics Anna Kisselgoff and Clive Barnes unanimously gave him precedence in modern ballet,” wrote well-known journalist Bella Yezerskaya after watching Russian Hamlet. The New York Times in the review of the production said that Boris Eifman “has a way with electrifying images and theatrical fantasies that other choreographers do not.” In 2012 the ballet was taken out the repertoire.

In the jubilee 40th season of Eifman Ballet, Boris Eifman turns to Russian Hamlet again as part of the trend in which he revives his famous earlier productions. He re-interprets the choreographic score to make it even more inventive, refined and emotionally intensive while the plot of the ballet remains essentially unchanged.