Stalin
Sarah Kent
Revolution - New Art for a New World film starts well: the opening shot (main picture) is of young women painting white letters onto a red banner. “We all knew what to paint,” says the voice-over. “Bread, Work, Vote, but the message was ‘Women of the World Unite!’” These were the words of Liubov Popova, one of Russia’s many brilliant women artists; her enthusiasm came from the conviction that after the revolution women would have greater opportunities. “Everyone was going to have equal rights, and that included artists,” she predicted, since they were “building a new life and a Read more ...
Adam Sweeting
"There is no murder in paradise" is the official line of the authorities in 1950s Russia, but nevertheless Child 44 is the blood-drenched tale of a hunt for a mass-murdering paedophile in Stalin's deathly shadow. The source novel was the first in Tom Rob Smith's trilogy about Russia during and after the Great Dictator, and Smith based it on the real-life killer Andrei Chikatilo, the "Rostov Ripper".Director Daniel Espinosa has done a powerful job of rendering the misery and horror of the USSR in the early 1950s, where your best friend or the work-mate at the next desk may be an informer for Read more ...
Miriam Gillinson
Russian prisoner Gavriil is telling his psychiatrist a story about a strange and frightening dragon who demands a female sacrifice from the local townsfolk every year. When Gavriil gets to the end of his hot-breathed tale, his doctor drily remarks: "Almost hard to believe that Stalin had a problem with it." The time is 1978 and we are in the USSR, a place where fiction is censored, writers are frequently imprisoned and real life is even more fantastical than fiction. Silent Prisoner is director-turned-writer Eve Leigh's first full-length play, and it is a subtle and slippery beast. The Read more ...
David Schneider
When Dostoyevsky was asked why he wrote Crime and Punishment he famously replied, “To further my career and get shortlisted for book prizes.” He didn’t, of course. I made that up. But what artist/writer/actor creates a piece of art/writing/acting without at least a bit of shallow consideration for their career? (What?! Just me?) The opening of my play Making Stalin Laugh at JW3 in London has been a joyous reminder that there’s so much more to writing than getting good reviews and checking the number of Twitter followers you have once an hour. Not that I do that, of course. No. Definitely not. Read more ...
Tom Birchenough
Southwark Playhouse's new production of The Love Girl and the Innocent is London’s first in over 30 years, and there’s a reason Alexander Solzhenitsyn’s play rarely reaches the stage: it’s a lumpy mammoth of a script, demanding a cast upwards of 50, with stage directions that would be monumental if interpreted literally.Matthew Dunster does the only thing possible, paring it all down to the roughest edges, and does so brilliantly. Visually we've got exposed graffitied walls, wooden pallets and planks and a heap of tyres that define the prison parade ground and construction sites, where metal Read more ...
Kieron Tyler
The Belarusian director Sergei Loznitsa recently made an impact with the powerful In the Fog, a delicately balanced examination of the pressures at play in World War II Russia. Before that, his international calling card was My Joy (2010), a first venture into fiction. Both form part of a prodigious body of work otherwise dedicated to non-fiction. The release of the documentaries Blockade, Landscape and Revue in one package gives non-Russians a first chance to sample what dominates his output.Blockade (2006) takes archive footage of the Leningrad Blockade of 1941 to 1944, when the city was Read more ...
Ismene Brown
The Bolshoi left it till last to be most itself, to dance a ballet that is truly of its blood, its seed - its closing on Alexei Ratmansky's The Flames of Paris will leave much happiness in the memory to override the problematic productions of classics, the unidiomatic Balanchine and the awful backstage events. Here at last, in a work by the most gifted of recent Bolshoi directors, you met on stage young people who dance, who act, who love the theatre, fresh in their performing, skilled in their means, open-hearted in reaching the audience, and loved right back.The previous night the visiting Read more ...
David Nice
Take note of the title, with its “could”, not “must”. “The word ‘must’ is not to be used to Princes,” quoth Good Queen Bess as echoed in Britten’s Gloriana. Yet that was the verb used by New York writer Scott Rose, guest-posting on Norman Lebrecht’s Slipped Disc blog. He declared that hit-and-miss superstar soprano Anna Netrebko, having proved fair game for the drive against Putin’s Nazi-rulebook laws in Russia by aligning herself politically with the regime as a named supporter of his re-election campaign, “must state her position on gay rights in Russia”.The momentum has gathered over in Read more ...
Tom Birchenough
Nikita Mikhalkov’s Burnt by the Sun was one of the few good news stories in Russian cinema in the Nineties. Made with his longterm scriptwriter Rustam Ibragimbekov, it picked up a main prize at Cannes in 1994 and the Best Foreign Film Oscar the following year. Its small Chekhovian story - adapted later by Peter Flannery for a successful run at London’s National Theatre - resounded far above its weight.Red Army hero-general Sergei Kotov (Mikhalkov himself, a fine actor, main picture) felt the chill winds of the Stalinist 1930s. The reappearance of Mitya (Oleg Menshikov), a friend now turned Read more ...
Adam Sweeting
Always a treat to see the shrewd, penetrating gaze of DCS Christopher Foyle back for one of its all-too-brief runs, though no doubt rationing Foyle's War to short series at long intervals is what has enabled writer/creator Anthony Horowitz to sustain it for so long. The three episodes in the new Series 8 find Foyle back in Britain, following a trip to the USA to "tie up some loose ends" from a previous case.It's 1946, and he's becoming embroiled in the Cold War as East faces off against West and rampant paranoia stalks the corridors of power. One of the strengths of Foyle has always been the Read more ...
fisun.guner
The Master and Margarita is a rare beast. Not only is it considered to be one of the greatest novels of the 20th century, it also regularly tops reader-lists of all-time favourite books. So it’s no wonder that, since its publication in 1966, 26 years after the author’s early death, Mikhail Bulgakov’s Soviet-era masterpiece has attracted a steady stream of film-makers and theatre directors. But their adaptations have so often floundered that one genuinely fears for anyone fearless, or foolhardy, enough to take it on. With its genre-shifting multiple narratives and dense allegorical layers, Read more ...
Sam Marlowe
“Smackhead, groin doctor and smut-scribe”: that’s one way in which writer Mikhail Bulgakov is described in John Hodge’s debut stage drama. A kind of wild fantasia spun around incidents from Soviet history, the piece goes on to show how Bulgakov – who was indeed a former physician specialising in venereal disease, and a self-medicating sufferer from nephrosclerosis – his art suppressed, his livelihood precarious and his career stymied, is ungently persuaded to pen a play in celebration of Stalin, and in the process is drawn into collusion in acts of appalling political brutality.A successful Read more ...