We might as well all be high!

Как я посмотрела "Хрустальный мир" по Пелевину

by Mascha from Russia

Maslenitsa is upon us, and during this Russo-British year  of culture it is carried with a particular flair, although  outside of the Trafalgar square event this Sunday the other program is not very well advertised.

So it was by a total “friend-of-a-friend’s-friend” surprise that i found out that Victor Pelevin’s play “Chrystal World” would be performed yesterday and today at the Tabernacle Theatre (sorry, where???) by Le Cirque de Charles La Tannes.

November 1917 Petrograd, historic events surrounding Lenin’s penetration of Smolny with the help of Finnish bolshevik, harking the beginning of the Soviet monster, 2 young cadets on a mission not to let this evil pass – evidently a fail-, and a lot of drugs as the only way to make sense of reality. Pelevin’s 1991 grotesque story sets out the ever so relevant paradigm of the unfortunate well spoken, well-meaning but  inert, decadend and shielded intelligentsia unable to fulfil its only real mission. It does seem so relevant today with the taste of revolutions and bloodiness in the air. We might as well all be high!

The director’s (Sergey Shedrin) staging was convincing, with the characters reciting both spoken dialogue as well as the more important thoughts and dreams that Pelevin so cleverly weaves in between. Do you feel cheated that there were not more direction and theatre interpretation of the play? But as Russians say “You can’t take the words out of the song”, and you can’t deprive the public of Pelevin’s absurdic and incredibly funny verse to describe exactly the pointlessness and shallowness of such cocaine and ephedrine induced mission statements. In my opinion Pelevin’s books are a stream of a pretty continuous monologue, just split across different characters for dramatic effect. The actors were brilliant – a force of  raw, young talent (the theatre formed in 2006 from graduated of MHAT school of dramatic arts).

I also loved the fact that the company itself is called Le Cirque. There is more freedom of expression, no boundaries of form and typology when you are supposedly playing the fool. Also it allows them to experiment with the set designs, multi-media installations and of course the music ( hip hip for MUJUCE (Roman Litvinov))

Really really enjoyed yesterday.


Mascha from Russia