In celebration of Anton Chekhov’s 150th birthday.
A collaborative project between the School of Dramatic Art and the Chekhov International Theatre Festival, with the support of the Government of Russia and the City of Moscow.
Dmitry Krymov’s Tararabumbiya is a theatrical “procession" in honor of Anton Pavlovich Chekhov, a colossal effort to unite in the space of a single show the unbelievable richness of associations connected with the name of the great Russian playwright.
It’s something indescribable, somewhere between a Soviet parade and the Devil’s Ball, from Bulgakov’s legendary Master and Margarita. Along a moving catwalk spanning the length of the stage, more than eighty actors, dancers, singers, musicians, and circus performers perform a fantastical procession. More than 300 costumes were prepared for this show. Incredible feats of stage engineering, combined with light and video effects make this show one of the most expansive and ambitious theatre projects of recent years.
“Chekhov's characters have already lived through more than a hundred years on the stages of the world. Their names have become commonplace, their situations typical, and their speech has become a code of sorts for theatre people – in Russia, even for the Russian intelligentsia at large. “Balzac was married in Berdichev!” has become, with all its associative weight, the equivalent of "Alas, poor Yorick!” “My dear and beloved bookshelf” has grown into a metaphor of monstrous proportions, on par with Elsinore; and Masha and Vershinin’s declarations of love –
- «pam pam pam...»
have become a contemporary translation of Romeo and Juliet:
- «Romeo! Wherefore art thou, Romeo…»
«Lady, by yonder blessed moon I swear….»
Kostya Treplev’s play – “People, lions, eagles, and partridges…” overpowered all Russian symbolism, from its first sentences to the very end, to become its calling card and epigraph, and what’s more – a symbol of all that is new and mysterious in art.
The preening mother has been trying to retie the bandages on her stubborn son’s head for more than a hundred years already… At the beginning, it seems that everything is going fine, but then he begins to fidget, and pull away, and yell, and run away from her, and in the end the dirty, bloodied bandage drags after him like a tail – as though after the prince of Denmark.
For more than a hundred years, these lovely and pathetic people have been doing nothing – just watching as their lives fall to pieces. Tender and funny, they exclaim over and over again:
- «My sister! My sister!»
- «Uncle! Sweet uncle!»
«My lovely sisters! If only we knew!..»
Firs will be forgotten; they will not leave for Moscow; there won’t be any happiness, neither in the brick factory (for Tuzenbach and Irina), nor in the forest district (for Astrov and Elena), nor onstage at the theatre in Elets (for poor Nina), nor, I fear, for any of us in the impending “Hello, new life!”
Wouldn’t it be good, for the birthday of a person who lived so modestly and then died with such fanfare, who hated banality and yet was brought back to be buried in his Motherland in a train car for oysters, who made such a strange, so tenuous yet so steadfast, so small and yet so massive world: wouldn’t it be good to collect all of his characters and have a parade? Left-right-left, everyone together: nobles and servants, writers and actors, magicians and musicians, stationmasters and soldiers, doctors, young girls in love, eternal students, entrepreneurs and new owners of the Cherry Orchard, all the people, and even lions, eagles, and partridges, horned stags and silent fish. And the children – all the Bobiks and Sofichkas!
A beautiful, multifaceted, shouting, singing, juggling, and always having something to say PROCESSION. Orchestras and choirs, pieces of manor houses, transparencies and flights of migrating birds, seagulls, and even tea tables with teaspoons shaking in their teacups, and, at last – a massive traincar, on which is written “OYSTERS,” and Chekhov’s massive body, pulled out from it and brought alive before our eyes!
Life and death, beauty and decay, age and youth!
The last parade of the veterans of the Napoleonic Wars, who have returned to pay reverence to the memory of their marshal.
A comedy! As Chekhov would have said."
Awards: “Golden Mask” for Best Design – Drama (Maria Tregubova)
V. Andreev, D. Rublyova, M. Viktorova, S. Volkov, V. Gvozdenko, N. Gorchakova, I. Danilov, I. Denisova, V. Dubrovin, S. Yefimova, E. Kuzminskaya, A. Kirichenko , P. Kravets, V. Kamaeva, R. Kadyrova, A. Laptei, Y. Lavrova, I. Lesov, M. Maminov, S. Melkonyan, N. Maslova, O. Malinina, V. Mishina, O. Misina, B. Nazarova, S. Ohotnichenko, V. Petrov, O. Pavlova, V. Romanova, E. Russkih, Y. Syomina, A. Sinyakina, A. Smirnitskya, A. Sirotina, N. Seledtzov, M. Umanets, I. Friedman , N. Chirkova, G. Shiryaeva, S. Shihaleev, I. Yatsko.
S. Anistratova, N. Babich, A. Bukatina, S. Brodskaya, I. Besedin, E. Gavrilova, E. Yershova, G. Zakirova , I. Ivashkina, K. Isaev, I. Mishenkova, D. Ohrimenko, P. Ostapenko, V. Prihodkin, E. Serebrinskaya, E. Skurat, D. Shishliannikov, A. Yashchenko.
D. Egorov, A. Kornilov , M. Kudryashov, A. Makarov, A. Murin, S. Seryogin, V. Sirenov.
H. Ambartsumian - drums, W. Denyushin - trombone, S. Kryukovtsev - Horn, M. Naydin - trumpet, D. Ryzhov – trumpet.
I. Barakin, V. Guryanov, I. Erishev, N. Zhigulin, S. Kuzmin, N. Markov, A. Nazarov, S. Nazarov, A. Pozdnyakov, AV Telcov.
Costumes made by:
Workshop “On Rijskaya”, workshop “Konart”, O. Poliakova, E. Hinskaya, Y. Netskina, E. Kandysheva, E. Ryabova, M. Arsenieva, N. Nikitina, V. Vdovytchenko.
I. Bakulina, S. Tantseva, Y. Varlamov, T. Avereva, Vladimir Solovieva, P. Gorbenko.
T. Mishlanova, N. Urvachyova, L. Levicheva, A. Kazanovskaya, O. Tarskaya, M. Smirnova, M. Masalskaya.
I. Orlov, A. Mikhalevskiy, A. Korotkov, A. Goncharenko, A. Morozov, A. Rasskazchikov.
S. Alexandrov, A. Zachyosov.
Costume Designer's Assistant:
Brass Band Director:
Trainer for stilts:
M. Bondarenko, K. Korneeva
Idea and Direction:
Premiere: 28-31 January, 2010
Length: 1 hour, 30 minutes