I think it's clear that the author was comparing Golden Age to Pharoah's Daughter, based on the two "New Offerings" in this Russian company-versus-Russian company summer London run. And the conclusion is that the latter succeeded as far as he is concerned.
Well, Pharaoh''s Daughter isn't exactly new to London as it was staged here a couple of years ago. Perhaps Mr Jennings should have held off writing this article until after he'd seen The Bright Stream; another ballet to a Shostakovich score.
Secondly, I happen to agree with the author on the assessment of Gergiev, but his personality cult is not the reason for the lack of attention to the ballet. The Cult of Gergiev does exist, but the reason the ballet is so neglected isn't directly due to the existence of the cult (the cult could exist and the ballet could be very well tended to -- so the two *may* be intertwined but don't necessarily have to be), but rather to Gergiev's innate preference for his pet and passion, the opera.
Certainly Gergiev is no shrinking violet, but I'm very grateful to him for bringing the Shostakovich programme as I agree with Jennings when he uses the word "lacklustre" to sum up recent Kirov seasons. I think that this most recent Kirov season was actually highly enjoyable giving us opportunities to see a number of excellent dancers in non-typical roles and it was a relief not to have to watch yet again those tortuous versions of the classics danced by the management’s favoured stick insects that have been inflicted on us of late.