In rescaling the scenery of the 1949 production for the New York State Theater (larger than City Center) and creating costumes based more closely on Chagall’s designs of 1945 than those of 1949 (from which the artist withdrew his name), Balanchine and Robbins, while adhering to the 1949 story line, provided new choreography throughout. (Robbins contributed the dance of Kastchei and his Subjects [‘the monsters’].) The most striking departure from the 1949 production was the role of the Firebird, now more birdlike and less womanly than in 1949, with a difficult, effortful new variation and a tutu outfitted with gauzy bustle and train.