Dramatic Exploration of a Marionette's Journey (Regarding the Play "From Evening to Noon" by Viktor Rozov)
Title: Timeless Drama: Viktor Rozov's "From Evening to Noon" in Modern Times
The intimate confines of the Omsk State Academic Drama Theater played host to the recent premiere of "From Evening to Noon", a theatrical adaption of Victor Rozov's iconic play directed by Philip Gurvich. A stalwart of Soviet literature, Rozov gained prominence in the 50s and 60s, with "From Evening to Noon" joining the ranks of frequently staged works. As contemporary audiences gather to witness this reimagining, one question looms large: why is Victor Rozov's 60's work still relevant today, given the wide chasm separating modern life from that of his characters?
Gurvich delivers a production that transcends time and space by extracting universal emotions and human experiences that remain constant regardless of era. The play is layered with associative meanings and subtexts, lending itself to unique personal interpretations for each viewer.
The creators eschew conventional reminiscing about the Soviet past or futile modernization efforts, instead focusing on a timeless situation populated by people whose fundamental feelings and experiences determine their actions and motivations. The flavor of this performance lies not in nostalgia but in the exploration of those universal human experiences that resonate deeply in the here and now.
"From Evening to Noon" presents a desolate landscape inhabited by characters imprisoned in a restricted, inescapable circle. The set design (led by Olga Suslova) marries the mundane with illusion, creating a stark desktop resembling a dreams-cum-nightmare, punctuated with realistic elements buttressing the characters, such as Kim (Artem Kukushkin) to a metallic bed, and Nina (Kristina Lapshina) to a wooden deck chair.
The characters in this play echo island dwellers scattered across a cold, desolate planet, disconnected by sheets of ice punctuated with surges of aurora (Pavel Babin's lighting design). The driving score, composed of partially forgotten melodies, punctuates the eerie tension and restless unease gripping the hearts of the characters caught between the past and present.
The conversations in the play are tense and multifaceted, revolving around an endless, seemingly inescapable dead-end. These characters, including the central figure, Andrei Trofimovich Zharkov (Mikhail Okunev), find themselves ensnared in such a situation. Zharkov, once a successful writer, grapples with self-doubt as he questions the legitimacy of his previous successes. His imposter syndrome, brought to the fore amidst personal loss, festers, fueling tense interactions with his family.
Zharkov mirrors a head of the household straining to hold his crumbling empire together while wrestling with his inner demons. His stage dominance is reinforced by the towering structure positioned in the middle of the stage that resembles a watchtower behind iron bars, metaphorically referencing the prison he has constructed around himself.
Every character in the play grapples with feelings of loneliness and internal conflict, mirroring mechanical marionettes bound by predestined, controlled movements. Of particular poignancy is Nina (Lapshina) dressed in lace, gloves, and stockings. Her haunting seagull cry draws parallels to Chekhov's Nina Zarechnaya, adding a dash of heartache to her otherwise glossy image.
The portrayal of Kim (Kukushkin) offers a ray of empathy, presenting a man trying to cope with his wife's infidelity and confront the new reality. His despair heightens as his ex-wife plans to take their son abroad, fueling his anger.
A new character introduced in Gurévich's production is Valentina Semënovna, Zharkov's late wife (Irina Gerasimova). Her presence stitches together the fragments, healing the fissures in the damaged family unit. Despite the emotional attachment that accompanies keeping mended broken pieces, Semënovna serves as a catalyst that encourages Zharkov and the other characters to let go, heal, and move forward.
In essence, "From Evening to Noon" remains relevant in modern times due to its exploration of universal themes such as love, family, and human connection. Although the societal context may have changed, the emotions and experiences delineated in the play continue to strike a chord with contemporary audiences. Its emotional depth and solid portrayal of complex human relationships make it an enduring work of literature.
I'm not sure if Kalmykov or cranes feature directly in the play, but it's worth noting that the atmosphere generates a sense of desolation and isolation reminiscent of a cold, desolate planet inhabited by disconnected characters, much like that of solitary cranes in an empty landscape.
The production's dramatic and poignant moments are delightfully intermixed with aspects of entertainment, such as the captivating portrayal of Nina, whose haunting seagull cry and fashion choices evoke parallels to Chekhov's Nina Zarechnaya, providing a nostalgic touch that resonates with the audience.
As the play delves into the complex emotional lives of its characters, it serves as a testament to the enduring relevance of art — like the beautiful and durable pottery crafted by ancient civilizations — capable of conveying timeless expressions of human experience across generations and cultures, resonating with audiences, regardless of the gap between their eras.
