Referred to by the New York Times as “…exuberant and arrestingly beautiful”, and by the London Telegraph theatre critic as “…one of the most extraordinary nights at the theatre I have ever known”, Rimas Tuminas’ miraculous Eugene Onegin is, at long last available to a world-wide audience.
The play unfolds in the memory and imagination of Pushkin’s characters. The images are split between past and present, between reality and imagination.The scale of the production constantly shifts from noisy celebrations to secluded contemplation, from crowd scenes to lonely recollections, all of which are drawn together from the past just like the fragments of Tatyana’s love letter, framed and hung on the wall, looming next to and above Onegin’s arm-chair.
Directed by Lithuanian choreographer, Anzelica Cholina, this multiple award-winning Vakhtangov Theatre production of Anna Karenina tells the story of Tolstoy’s classic novel entirely in contemporary dance. In this way, Cholina succeeds in finding the equivalent of Tolstoy’s words in harmony and movement, with every gesture holding meaning. The music of Alfred Schnittke helps to reveal the characters and their depth, together with elegance and mood.
A crowd favorite in Moscow which plays to sold-out houses month after month, this meticulously detailed and gorgeous Anna Karenina is an example of the new Russian theater scene, fearlessly focusing on the visceral, allowing audience members to form their own interpretations. Winner of the “Villanueva Award”, Best Foreign Performance, International Havana Theatre Festival; Winner “Crystal Turando”, Best Debut Performance, Olga Lerman.
Showtime: Screening on 4/9 at 12 noon and 5/21 at 12 noon 2hrs 45 mins with English Subtitle
First produced in 1904 on the stages of The Moscow Art Theatre (where this performance was filmed!) under the direction of Konstantin Stanislavsky, Anton Chekhov’s classic tale of holding dearly onto our past while fearing for our soulless future, is perhaps even more relevant today than it was over a hundred years ago.
Adolf Shapiro’s interpretation, starring Russian icon, Renata Litvinova, asks the question, where would the characters of this play live today years after their cherry orchard has been cut down? The answer, which lies in the material world created by setdesigner, David Borovsky, is, of course, on the stage. A classic Russian theater production.
Based on the short story by Anton Chekhov, Kama Ginkas’ astounding reimagining highlights and builds off of the Chekhovian tension between the beauty of life and the tragedy of how it is lived.
The story tells the the tragic tale of philosophy student Andrey Vasil’ich Kovrin (stage and screen star Sergey Makovetskiy). On the verge of a nervous breakdown, Kovrin decides to visit his childhood friend Tanya Pesotsky at the estate of her father. As he and Tanya develop a relationship and eventually marry. A black monk of legend begins appearing to Kovrin invisions. Though these hallucinations at first imbue the young man with joy and energy, that eventually lead to his ruin.
Ginkas, as any theater lover will tell you, creates small, intense, highly personal works that leave few spectators indifferent. He succeeds, according to the New York Times, because of his commanding theatrical vision.
Winner of the Grand Prix and the Critics’ Price for Best Production, Best Actor and a Golden Mask award for Best Stage Design.
Tells the epic tale of the phantasmagorical civilization of Drillalia, which exists parallel to earth. The work’s chief protagonist, a prince, must save his magical land from destruction. In this first episode, Drillalians occupy the deck of the transportational device that transfers their gondolas through space and time during a ritual dedicated to the perishing of the world. The fragile, crystal-clear music of Dmitri Kourliandski “heats the street,” making the air of the stage space visible. Gondolas carrying singers or readers sail back and forth in front of a spectacular multi-screen backdrop on which colorful, luminescent clouds constantly float high above a stylized, heavenly Venice. Boris Yukhananov uses Venice as one of the portals leading to the mythical civilization of the Drillalians.