This essentially remained the story presented in The Bolt, although it acquired one significant change. The machine in question breaks down not due to wear and tear but due to sabotage. In 1930 this was a hot topic as the country witnessed the so-called ‘Industrial Party Trial’ where several supposed industrial saboteurs were put in the dock. Stalin had launched the First Five Year Plan in 1929 and shortly after began to consolidate his regime though highly-publicised show trials that claimed to expose dangerous class enemies. The press added to the hysteria with headlines such as ‘Drunks and Absentees are Disorganising Production’, ‘Hooligans Sabotage Cultural Work’ or ‘Saboteurs Must Be Shot!’. This atmosphere quickly spread to the cultural sphere. One journal called The Worker and the Theatre printed a cover showing a saboteur obstructing a lathe with a stick, anticipating the plot of The Bolt. Another publication entitled The Proletarian Musician claimed that ‘ideological sabotage does exist in the musical sphere’ and called for those guilty to be exposed. This must have been particularly concerning for Shostakovich, whose friend the composer Mikhail Kvadri had been accused of counterrevolutionary activity and shot in July 1929. As one musical historian has suggested, once the theatre announced the creation of a new ballet exposing ‘hooliganism and industrial sabotage’ it was too late for any of the participants to back out for fear of denunciation.