Although it is a matter of some record that Marie Petipa was not strong in pointework, I feel that it is unwarranted to assert that, because she was a well-known danseuse de caractère at the Mariinsky, she never worked on pointe, or that the Lilac Fairy variation was originally danced en demi-pointe. The notations (both versions) don't seem to bear this statement out, at least as I recall them.
When I wrote that "possibly never danced on point" it was an unanswered question, not an assertion. Marie Petipa was already nearly 33 years of age and was of a full figured stature in 1890, as a photograph of her in the Prologue costume shows(Compare Lubov Egorova photographed in same costume design). There are two extant notated versions of the Lilac Fairy variation the first marked M.Petipa according to Wiley is technically less demanding, "Marie's choreography is based on the plainest of floor plans and requires very little pointe work......" By the time the 'Sergeyev' notation of her(supposed)version was recorded, Marie Petipa was 46 years of age, very plump in the body and had not danced the Lilac Fairy for a good number of years. Is it possible that she collaborated with Sergeyev given her fathers antipathy towards the Stepanov notation? It it has been stated that Petipa re-choreographed his own variations for particular dancers, did this happen when other dancers succeeded to the role of the Lilac Fairy? Perhaps Doug Fullington who knows the Sergeyev notation well, could at some time give an indication how clearly demi-pointe work is shown compared to full pointe work? Is the Marie version in Sergeyev's hand, as Mr. Fullington's earlier writing on the Kirov reconstruction talks about a ' scribe ',rather than directly crediting N.Sergeyev notating the Fairy variations?