I wish this new theatre all the success and luck in the world!

Last night I was lucky enough to finally see a wonderful show by Russian Classics Theatre lead by thoughtful and talented director Dimitry Devdariani. The performance consisted of two one act plays by Ivan Turgenev: "Provincial Lady" and "An Evening in Sorrento". The audience was delighted by the inspired acting and well-tuned ensamble work of the gifted cast of this production; romanticism and stark reality, dramatism and comical glimpses woven by the actors into a rich tapestry created a window into 19th century life. It must be said, though, that certain things sparked a debate: some said that the events depicted in the first play are too far removed from today's reality, that they're slow moving and even boring. I completely disagree with that point of view and would like to take sides with Turgenev and that of the director, whose choice of this particular piece was indeed timely.

Turgenev, as an author—and this is common knowledge—was extremely sensitive to the moods, changes and ideas that affected society. His play "Provincial Lady" somehow has become more apt today, when the last of the taboos seem to have melted away and issues around sexual freedom are discussed so openly. Today we condemn brutal male sexism, yet we critisize much less the female version of it. The heroine of the play, Daria, portrayed vividly by actress Olga Zakharevskaya, excels in the sophisticated art of manipulation. She is so disarmingly flirtatious, so sweet and witty, so determined to gain a higher social status that two hours is enough time for her to achieve it. Neither her husband (Leonid Kara), nor Count Lubin (Leonidas Plavko) are able to counterract her efforts. These "fallen" men are becoming mere pawns in her game. They become psychologically dependant on Daria and obediently comply with her wishes. The author of the play and the director were not just acknowledging the fact that people and their wills can be easily manipulated. It wouldn't be possible to convince the audience that such an obidience and such victimasation of men by a female will are possible without showing the situation in progress, showing the entire process. The spectators had to become familiar with the whole arsenal of sly moves, play on emotions, clever usage of personal charm in order to understand how normal men can be turned into actual slaves. That's why I don't think that the first play of the evening requires significant cuts. Who can say that even today our personal freedom and sense of worth are not attacked constantly? Who can say that we don't encounter users who play on people's best feelings to fulfill their own goals? And all of this happens with or without sexual overtones.

The second half of the show continues this theme perfectly: "An Evening in Sorrento" is both written and directed in a more romantic style. Nadeszda Pavlovna (played by excellent actress Natalia Hirom) is charming and full of irony. Like a vampire she is feeding on the admiration of her entourage. At first glance she owns the destinies of her old "friend" Avakov (Bijan Badi), her niece Masha (Lina Kriutshkova) and young admirer Balskyi (Oleg Belov). But suddenly the young "victims" are off the hook and the experienced predator is forced to give up before the power of genuine emotions, youth, purity and mutual romantic feelings. Could it be seen as her downfall? Who knows? While allowing the young people to marry, Nadeszda orders everyone to go to Paris and smiles at her hidden thoughts... Many women would say,"Yes, that's the way to do things—Do or die!" I believe that this show is filled with deep psychological observations and talks of the most important aspects of human relationships. And it's a good cause for a quality contemporary debate. My thanks go to the director, all of the cast members, all the helpers and everyone else involved in the creation of this truly classical piece of theatre.

Larisa Volkova