Strong woman. It's a great route. It is difficult and unethical for me, as a young man of the 2000s, to talk about the times of Stalin’s repressions. I have always been amazed by people, including my peers, who vehemently defended Stalinist communism, saying that there is a lack of those ' hedgehog manuals' that ' Stakhanov’s hardening'; ' Stalin would have a little democracy'... Yeah, a little. Such people who came out of the forest must have not read the book of Yevgenia Ginzburg, and certainly did not see her work in the production of Galina Volchek.
From the very beginning of the play, we plunge into the muddy, dirty, soaked in rot and false atmosphere of the prison. Repressed. Horrible. Fear. Stink. And a one-on-one woman with a Soviet-era punitive apparatus. The aura on stage negates all the rapidly fading hopes of the viewer for a happy ending. No - it is not ' a story based on real events' and similar nonsense, causing many to convulse from the realization ' unconditional authenticity' seen. Nope. It's a reliable past. True. Scary. But the real past. . .
Endless thanks to Marina Neelova for this experienced and lived fate of Eugenia. Her image of a strong and unshakeable woman made her shudder, but rise. The image of each heroine is worthy of a separate review, each actress deserves a separate word of gratitude: and homely good school principal Lilya Itz (Helena Millioti), and broken by torture Zina (Lia Akhedzhakova), and German actress (Marina Alexandrova), and persistent Lidia Georgievna (Natalia Pärn). Each of them brought a piece of herself into action, each was able to survive these 2 hours together with Eugene, each became that woman with a difficult fate who was in those distant years ' the enemy of the people'.
The performance is a whole gallery of images that personified the human soul, multifaceted, multifaceted. The performance is our life, its dull shot on film, burst into bright flames. Thank you for this fire.
10 out of 10