Boris Godunov brings exciting Russian Politics to London fringe

By J Sydney-Leigh

Ballast Theatre has succeeded in the ambitious task of staging Pushkin’s epic drama ‘Boris Godunov’. The initial merit lies in the design choices, which are a visual treat. The thrust stage is kept bare whilst props and costume changes are kept to a minimum, creating an economic and appropriately austere production for this bleak Russian setting. The rhythmic drum underscore builds tension and establishes location, whilst the moody lighting design and grey scale costumes plunge us into the atmosphere of poverty and distress. The stylish design elements are complemented by Howard Colyer’s stripped-back translation; resulting in an agile and accessible production that none-the-less retains the political and emotional impact of Pushkin’s original.

Welcome to Russia, 1598.

Ivan the Terrible has been dead for 15 years, and when his one remaining son Feodor dies, the bloodline ends and opens the throne to the reign of a new Tzar. Enter Boris Godunov, Feodor’s brother-in-law, who is ripe for power having more or less governed Russia since Ivan the Terrible’s death. For all intents and purposes, Boris seems to be a charming man. David Bromley commands the eponymous character with masterful elegance, and a subtle kindness that endears the Russian people and the audience alike: ‘All will be invited to our table, lords and beggars’. His threatening character is suggested by the rumour that he had in fact issued the murder of Ivan’s youngest son, Dimitry, years before. Had he lived, Dimitry would be the true contender to the throne. Bromley endorses this chilling truth when he ominously addresses the Russian people as their ‘unworthy servant: one you have raised so high’.

Six years into Boris’ reign of ‘struggle’, we meet Grigory, a restless young monk who grasps the opportunity to usurp the throne by claiming to be the lost son Dimitry, having survived his injuries. Thomas Winsor is a charming Grigory, endearing the audience with his youthful spirit in contrast to Boris’ jaded reluctance to power and disgust of the unappreciative Russian people. Grigory gains the support of Eastern Europe towards his surge on Moscow, however Pushkin does not offer us a clear-cut hero. When Grigory’s army is faced with battle, he is stunted by sensitivity and fails to command his people. We are offered romance in his relationship with seductress Marina, played with fierce ambition by Josephine Rattigan, and she offers endorsement for Grigory’s fraudulent success: ‘Perhaps an adventurer is better than a prince’.

The story is multi-roled by a talented cast of thirteen, and there are a few other standout performances. Paul Trussell is captivating in his role as The Patriarch, who keeps hot on Grigory’s heels in attempt to have him killed for desertion. Trussell’s performance is coarse, visceral, and truly threatening. Jonathan Parsonage is gruff and menacing as Basmanov, the head of the Russian Army, who comes to the front in his final dilemma: ‘What should I protect? My country or my King?’ Brendan O’Rourke is perfectly cast as Prince Shuisky, who calculates his loyalties cleverly, and bides his time with the resolution of one day overthrowing this false Dimitry himself. Russian history buffs will enjoy knowing that his patience ultimately paid off.

Justin Williams’ scenic art is effectively simple. A map of Russia, drawn out by Boris’ son on the entire stage, indicates the scope of Grigory’s journey to Moscow. Boris Godunov enjoys the illusion, heartily claiming ‘I feel like a bird’. The direction from Scott Le Crass and Sean Turner works to further extend this visual metaphor as Boris interrogates Shuisky, circling him like a bird of prey.

‘Boris Godunov’ is a tale of ambition, greed, and pouncing on an opportune moment to usurp the established power. But as is most often the way in Russian politics, this can be said of both our ‘villain’ Boris, and the ‘hero’ pretender to the throne. The play would benefit from clearer-cut character and scene changes, but it holds our attention throughout, and the actors do credit to Pushkin’s complex character relationships. A treat for anyone interested in politics and power, the play provides a framework that could easily be about the Middle East today.

★ ★ ★ ★

Ballast Theatre presents ‘Boris Godunov’

By Alexander Pushkin Adapted by Howard Colyer

Directed by Scott Le Crass and Sean Turner

Lighting Designer – Jai Morjaria

Sound Designer – Kirsty Wilde

Assistant Director – Kathleen Douglas

Projection and Scenic Art – Justin Williams

Photograph by Cameron Harle

13th - 31st Janurary 2015 | 7.45pm

Jack Studio Theatre | £14, £11 concs Book Tickets here: https://www.ticketsource.co.uk/brockleyjackstudio/events

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