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In Russia and the Former Soviet Union 21 August - 1 October 09

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In Russia and the Former Soviet Union 21 August - 1 October 09 A celebration of theatre in Russia and the former Soviet Union 21 August - 1 October 09 select YOUR OWN seat online www.rsc.org.uk (NO BOOKING FEE) RSC TICKET HOTLINE 0844 800 1110 (NO BOOKING FEE, CALLS FROM BT LANDLINE COST 5P PER MINUTE) NEXT This September, the RSC launches a four year celebration and exploration of theatre in Russia and The former soviet union. We begin with the premiere of two new RSC commissioned plays from Russia and Ukraine, performed by the RSC Ensemble. The Grain Store and The Drunks capture the voices of an exciting new generation of post-Soviet playwrights. We will end with a major Russian contribution to our 2012 Olympic celebration. Magnum/Thomas Dworzak Russia is reasserting itself as a major influence in world politics and culture through its In Revolutions, we are beginning a new chapter in the RSC’s historic relationship rich natural resources and rediscovery of nationalism. For over a century, Russian theatre with this daunting, great, paradoxical nation. Join us to explore the breadth of Russian has had a profound influence on theatre in the West and particularly that of the RSC. culture through a dynamic series of events. Hear talks and debates with leading After Shakespeare, Chekhov is the most performed playwright in the world and Russian cultural commentators and practitioners, listen to readings of work from new and work has always featured heavily in the RSC’s repertoire. Stanislavsky began and is established Russian dramatists, see the latest in visual arts and experience still at the heart of Western film and theatre practice. The RSC has broken free of this Late Night Young Russia, an explosive mix of words, music and breakdancing. by also embracing the bold, expressive style championed by Stanislavsky’s rebellious pupil, Meyerhold, especially in Peter Brook’s A Midsummer Night’s Dream, Trevor Nunn’s The RSC Ensemble is generously supported by The RSC Literary Department is generously The RSC’s New Work is generously supported THE GATSBY CHARITABLE FOUNDATION and supported by THE DRUE HEINZ TRUST by CHRISTOPHER SETON ABELE on behalf of Nicholas Nickleby and Michael Boyd’s The Histories. THE KOVNER FOUNDATION THE ARGOSY FOUNDATION PREV NEXT PLAYS IN REPERTOIRE FROM FRI 21 AUGUST - THU 1 OCTOBER MIKhail AND VyachEslaV DuRNENKOV TRANslaTED BY NINA RAINE A NEW RSC CommissioN In this darkly comic and free-wheeling epic, the Durnenkov Brothers get to the heart of small town politics and what it means to please all of the people all of the time. Jonjo O’Neill takes the role of Ilya following ENSEMBLE: his performance as Orlando in C H A R L E S A I T K E N A D A M B U R TO N As You Like It earlier in the season. DAVID CARR B R I A N D O H E R T Y The Drunks is directed by RSC Literary D A R R E L L D ’ S I LV A Associate Anthony Neilson. His previous D Y FA N D W Y FO R PHILLIP EDGERLEY work for the RSC includes God in Ruins C H R I S T I N E E N T W I S L E (Soho Theatre). A provincial town is JA M E S GA L E PA U L H A M I LT O N in search of a hero. J A M E S H O W A R D Mikhail Durnenkov is the author of fifteen Ilya, a shell shocked R I C H A R D K AT Z plays and his critically acclaimed work S A N D Y N E I L S O N soldier, downs vodka J O N J O O ’ N E I L L is widely seen in Russia. His brother and PETER PEVERLEY frequent co-author Vyacheslav has on his return from the S O P H I E R U S S E L L written over twenty plays. Their play front line in Chechnya. C L A R E N C E S M I T H J A M E S T R A H E R N E The Cultural Layer is recognised as being As he arrives home HANNAH YOUNG a key moment in the revitalising of new he stumbles into DIRECTOR drama in Russia. ANTHONY NEILSON the epicentre of an DESIGNER Translator Nina Raine was awarded the TOM PIPER extraordinary power LIGHTING 2006 Critics’ Circle Award and the OLIVER FENWICK Evening Standard’s Charles Wintour Award struggle that threatens MUSIC AND SOUND NICK Powell for her debut play Rabbit. to tear the town apart. Movement Photograph of Jonjo O’Neill by Julia Fullerton-Batten ANNA Morrissey This production contains strong language. PREV NEXT PLAYS IN REPERTOIRE FROM Ukraine 1929. THU 10 SEPTEMBER - THU 1 OCTOBER As Stalin launches the first of his Five Year Plans, a close-knit rural community stands in the way of his drive to create a thriving socialist Soviet Union. The outcome is catastrophic. NaTal’ia VoROZhbiT TRANslaTED by Sasha DugDalE A NEW RSC CommissioN ENSEMBLE: JOSEPH ARKLEY N O M A D U M E Z W E N I G E O F F R E Y F R E S H W A T E R What begins for the people of the village MARIAH GALE G R U F F U D D G LY N as an amusingly alien political concept GREG HICKS rapidly becomes an unstoppable force KATHRYN HUNTER KELLY HUNTER for change. Robbed first of their land, ANSU KABIA then their religion and independence, TUNJI KASIM D E B B I E KO R L E Y the whole country soon becomes JOHN MACKAY engulfed by a tragedy that will scar a FO R B E S M A S S O N D H A R M E S H PAT E L nation for generations. PAT R I C K R O M E R DAVID RUBIN Natal’ia Vorozhbit’s plays Demons and OLIVER RYAN S I M O N E S A U N D E R S Galka Motalko have been staged in PETER SHOREY Moscow and at the National Theatre of K AT Y S T E P H E N S S A M T R O U G H TO N Latvia. Galka Motalko has been adapted JA M E S T U C K E R for the screen and is currently being L A R R I N G T O N W A L K E R K I R S T Y W O O D W A R D filmed in Moscow. SAMANTHA YOUNG Sasha Dugdale’s translations include director MICHAEL boyd Black Milk and Plasticine by DESIGNER Vassily Sigarev, Terrorism by the TOM PIPER LIGHTING Presnyakov Brothers and OLIVER FENWICK The Khomenko Family Chronicles, MUSIC JOHN woolf also by Natal’ia Vorozhbit. SOUND NICK Powell Movement Supported by The Columbia Foundation Fund Photograph of Tunji Kasim and Samantha Young by Julia Fullerton-Batten and Samantha Young Kasim Photograph of Tunji ANNA Morrissey of the Capital Community Foundation PREV NEXT Playwright Evgeny Grishkovets Playwright Yaroslava Pulinovich Playwright Yaroslava Playwright Alexander Arkhipov POSTCARDS FROM RUSSIA Anthony Neilson, Vyacheslav Durnenkov, and Mikhail Durnenkov Nina Raine As part of the development process for The Drunks, Jeanie O’Hare, RSC Company Dramaturg, Anthony Neilson, Director, and Nina Raine, Translator, visited Playwrights Mikhail and Vyacheslav Durnenkov in Moscow. Below is an edited extract from Jeanie’s diary. Anthony Neilson, Vyacheslav Durnenkov, and Mikhail Durnenkov Nina Raine Sigarev Playwright Vassily Sunday 15 February – Day One Tuesday 17 February – Day Three Touch down in Moscow. Snow everywhere. We are met by Tanya Oskolkova, our interpreter. The smoke from the previous day hangs around the rehearsal room. New scenes from the literal She has worked everywhere and knows everyone in Russian theatre. She takes us to our waiting translator are faxed through from England and we carry on working through the play. We hit one taxi. Nina’s seatbelt doesn’t work and even though it is two-below-zero Anthony winds down the scene where we find a disagreement amongst the writers. Tanya looks over while they argue window of the front passenger seat to smoke. Nina very quiet holding her seatbelt. When we go to in a very animated fashion and tells us that they can’t agree on the point we have put to them. bed at 9pm (UK-time) none of us can sleep. Vyacheslav is the soul of the play and Mikhail the structure. They both care passionately about their work and complement each others’ strengths as writers. There are a lot of smiles as they argue and they know they are amusing us. They are now so ‘inside’ the play that any decision they Monday 16 February – Day Two make will feel truthful. In the afternoon Anthony and Nina go out into Moscow with Mikhail. He is a great guide. Tanya and I meet with other theatre directors who will come over for our Revolutions festival in September. Bleary eyed at breakfast we have an hour and a half script meeting. We are agreed on the notes I say goodbye to Tanya until we see her in Stratford-upon-Avon. we have. Nina is very diligent and knows the script backwards. The Meyerhold Centre (where we will work) is next door. Mikhail and Vyacheslav arrive. I’d forgotten just how much I love them as people, not just as writers. We spend much of the first two hours talking about life in Russia, Putin, the motor-town Tolyatti (where Vyacheslav lives) and the future direction of their country.
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