As part of the annual Voila! Europe Festival, the American-based Russian company Arlekin Players, are performing online (and live) their award-winning piece ‘State vs. Natasha Banina’. Based on Yaroslava Pulinovich’s play ‘Natasha’s Dream’ - performed by the same company in more ’normal’ circumstances 3 years ago - ‘State vs. Natasha…’ is a reimagined version created during lockdown earlier this year, in a Boston living room. As for all performing artists, the idea of performing to an audience any time soon is tenuous to say the least. However, the company has overcome this to create a live, interactive show that not only has enabled them to create a virtual theatre space at home, but for audience members anywhere in the world to be part of this immersive experience, thus “creating a new form to overcome social distancing, the pandemic - and ultimately uniting people in one virtual space”.
The piece tells the story of teenager Natasha’s fragmented life in a small-town Russian orphanage - exorcising her desire to be free (and be loved) by agreeing to a dare to jump out of a third floor window, and subsequently fall in love with the journalist who covers the story - ending tragically with a crime of passion as her love is devastatingly squashed by a rival.
Darya Denisova plays Natasha, inhabiting completely her physical space in the corner of a room - perhaps symbolic of her otherwise suffocating life - which also takes on many locations with the help of clever animation and video techniques. As she unravels the details of her past to us we feel drawn in to her ‘inner landscape’ in a highly intimate performance. Denisova is naive, desperate and confrontational as she pleads with us to pardon her from a terrible crime, playing the role with pent up energy and sensitivity. We are exposed to a vulnerability that is the product of a broken, neglected upbringing - and the pieces of her life that she attempts to draw together, in her pursuit of love and a semblance of being a person who is wanted in this world. It is a performance that is deeply engaging to watch and hugely deserving of the recognition and acclaim Denisova has already received.
Designed by Anton Iakhontov, the animation plays a crucial role in the visual dimension of the show. We are shown abstract images that represent elements of the city, and the people she encounters - from the red lips of her unsympathetic teacher to the journalist’s eyes behind a pair of glasses as she enters the newspaper offices. Endearingly he becomes a gigantic man in a space suit - her cartoon superhero perhaps - saving her from a life sentence of being ignored and uncared for. The symbolic imagery is thought-provoking and highly atmospheric, seamlessly intertwining with the live monologue as well as breaking the action and shifting the pace, to make this a truly multi-sensory show.
The final role is played by us - the audience. From the outset we are addressed as the jurors for Natasha’s trial. She speaks to us at times by name, as we answer online surveys at selected points during the performance: questions such as ‘have we ever felt misunderstood?’ ‘are we familiar with the Russian orphanage system?’ and ultimately put disturbingly on the spot to give our verdict of ‘Is Natasha guilty?’ Suddenly it is us who are responsible for the fate of someone who has already gone through the mill, in a life where so far her choices are made by others, who clearly do not have her best interests at heart. It is a moral dilemma of how and why we ensure ‘justice’ is served.
After the show there is a fascinating discussion with the team, including director Igor Golyak who takes us through the process of creating the piece and shows us round the ‘virtual theatre’ space in their apartment - including a large screen behind the camera enabling Denisova to engage with us during the performance. Golyak explains how crucial it is that the piece is immersive: “It is the interaction mechanism needed to connect the two - otherwise it is just a movie.”
And as much as we all miss going to live theatre and have witnessed the devastation of the doors of our much-loved institutions being closed, at least for the time being; in its place there is a new and emerging genre that offers a very different experience - opening new doors to exciting possibilities. And with the imminent opening of ‘Zero Gravity’ a new virtual theatre lab near Boston, the Arlekin Players are undeniably at the very forefront of this.
Reviewer - Georgina Elliott
on - 12/11/20
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