|Stage Design||Vladimir Maximov|
|Costume Design||Svetlana Kalinina|
|Lighting Design||Vladislav Frolov|
|Stage Manager||Yulia Rikhter|
|Musical Setting||Oleg Lyubimov|
|Speech Coach||Vera Kamyshnikova|
Refugees from Chechnya and prying tourists in Rome, Tristan and Isolde, Daphnis and Chloe, high school students and ancient Greeks, teacher Galpetra and the famous singer of romances Isabella… language exercises, parallels, symbols, allusions, and metaphors… Reality and dreams interpenetrate, the past speaks with the present, unsent letters pierce time, and people turn into the stories they tell.
Using the fragments of stories and slivers of fates from Mikhail Shishkin’s novel, which seems to crumble into pieces, Evgeny Kamenkovich creates his complicated, polyphonic and multilayered production, bringing the writer’s protagonists into a new, theatrical, dimension.
The most important conclusion after watching the Workshop’s new performance is that the Russian psychological theater, which is being diligently buried by the fans of contemporary and relevant art, is still alive, and here it is. It’s not just alive, it’s in the prime of its life, it’s triumphant, and it affects the public, just like it was meant to. And another important thing. With so much militant amateurism and the new directors’ lack of articulation and ignorance of theatrical laws, the virtuoso mastery of your profession and the ability to clearly say what you wanted to say seem simply remarkable. And by that I mean the Workshop’s actors and director Evgeny Kamenkovich.
Marina Zaionts, Itogi