The Et-Cetera Theater, from Moscow, brought Cuba two very interesting plays. The first, "Faces", is a delightful comedy divided into five independent stories, based on the works by Anton Chekhov. The second, an ode to "Hope, Faith and Love", combines war and allegorical folklore songs, which are so ingrained in the Russian mind.
"Faces"
Whoever thought that because being ‘Russian’, the humor of "Faces", would not reach the Cuban public was wrong. Even with the disadvantage of having subtitles, basic but sufficient, the audience laughed out loud for half an hour and then applauded Alexandr Kalyáguin (adapter and director) and Vladimir Simonov for 10 long minutes, for their work on those five hilarious couples. Each of them was unique. All combined, were a gift to the most classic histrionic virtuosity in theater.
The production was rigorous, sober in the atmosphere and expressive resources. “Faces" bases its charm in the performance of this pair of virtuosos, known not only in Russia but in many prestigious world scenes. The universality of Chekhov could be void due to this being a very specific Russian material. However, humans are human, anywhere. And though we may not fully comprehend the context and language play tricks on us, the rich body language makes up for any gap in the understanding.
Even more when you are in the face of two superb plays. They, Kalyaguin and Simonov, are organic from minute one and stop being themselves to become ‘faces’ of everyday Russians back in the XIX century. It seems that, due to the time and distance that set us apart, the message is no longer relevant. But again: humans are human, anywhere and a century and a half later.
Before becoming a writer, Chekhov was devoted to medicine. In fact, as Kalyaguin said before the show "hadn’t Chekhov been a doctor, we wouldn’t have had Chekhov as an author." The experience gathered for years in the Russian countryside, allowed him to produce the most authentic folk tales without losing his intellectual sense, and without betraying the essence of his creatures.
It would be as if we are seeing before us a landowner and a Frenchman, in a pseudo-patriotic debate, a psychotic father and son thanks to their own inexplicable phobias. A devout but decrepit old lady, trying to preach to an anything-but-religious sacristan; or the Russian peasant, muzhik, half silly, half shrewd, who plays the authorities for fools. It all seems like so much from here and now, even though is then and there.
Not because it brought up the biggest laughs, the last scene, was the best. It would be difficult to choose the best scene unless you grew a very strong personal empathy. Neither the text, always precise and rich on inflections and performance – close to genius – move on uneven terrain, always bordering the top of the possibilities (something that only theater creatures like Kalyaguin and Simonov can achieve).
The announcement of an unwanted death is the leitmotiv to demonstrate the vagaries of the human being and the possibilities of an actor of the likes of Alexander Alexandrovich, People’s Artist of Russia, Director of Et-Cetera, who for five decades have garnered glory and awards in the theatrical world.
These five scenes “Abroad", "Psychopaths", "Rigmarole", "The thief" and "The Diplomat" are among the earliest Chekhov´s works. Following something that has become tradition, Kalyáguin takes to scene Antosha Chejonté texts (as Chekhov signed his works at that time), managing to keep the original tone and form.
It is no wonder that the show has won acclaim not only from Cubans, Russians in Cuba, diplomats and acting students, who attended on Saturday and Sunday nights the "Hubert de Blanc" theater, but from many different audiences throughout the planet.
"Hope, Faith and Love"
Emotion always has a music taste and what is music without emotion? But not because it is obvious, opting for a musical of “The War” wouldn’t mean taking risks, in the case of Cuba. Here ‘war’ and ‘Soviet cinema’ are almost synonymous, and not always in the best sense. However, after a warm reception, that was my judgement, the audience erupted in the longest applause I’ve seen in a while, leaving behind any misgivings of mine.
The death of 30 million people (according to current data) does not pass without trace in the heart of a people. The War – capitalized – is part of the Russian mind, since almost everyone, even unknowingly, lost someone or simply suffered from its devastating influence. It is therefore natural that 65 years later people still continue praising those who gave their lives not only for us, but saved theirs, to give us the Victory.
And with that subtitle, "The Music of Victory", was presented to the Havana public on Monday this idea by Yuli Kim, masterfully executed by Ekaterina Granítova in the artistic direction and Grigory Auerbach, in charge of the musical part. Made out of classical numbers from that period, with some folk refrences, "Hope, Faith and Love," gently carries us the ups and downs of emotion using 17 musical pieces. From the gentle and somewhat innocent prior life to maturity forced by fear and destruction.
Humor, always precise and elegant, dilutes the tensions those really tragic moments arose. We bear witness to that ‘hope’, ‘faith’ and ‘love’ – in that order – of a people who are willing to defeat the invader, who is ridiculed and minimized in the popular mind, perhaps to forget its true atrocity and strength.
Nines dramatic actors sing and dance and perform in a somehow less functional stage than it was originally conceived (nor even the Covarrubias hall at the National Theater where we initially would see it, could provide the necessary conditions for total interaction with the audience that this play is meant to have). Still, this did not impair the efficient performance by actors and backstage musicians.
With a prolonged ovation and red roses from the Embassy, the Ministry of Culture, the National Council for the Performing Arts, these exceptional actors were given a farewell. Many deemed this four-day Russian theater season as too short at when leaving the Hubert de Blanc.
For those who love Russian theater, a promise: according to the head of the Russian Theater Agency, David Smelianskiy, Cubans will probably enjoy by the end of 2013, the performance of a large-sized theater group in the Havana Festival, that this time will be devoted to another cardinal figure: Konstantin Stanislavskiy.
Author
Antón Vélez Bichkov
