Moon Wolves

State Youth Theatre on Fontanka, Saint Petersburg Russia, 1994
Author: Nina Sadur
Directed by Vladimir Tumanov

about production

Stories, told by Sadur and director Trumanov remind us at first of a simple tune, the motif of which immediately starts to grow by complicated and disharmonious chords. Melodies, tom out from the darkness, the muteness of our existence – it is these and not the dirty, poor, drunk life, which are in the centre of “gravity” of this play.

Somewhere from the gap under the door emerges an old-fashioned figure, hastily gets up on its feet and from turns into a simple fellow in a city coat down to his heels and in white shirt with old-fashioned, elongated tips of his collar. He is Vitja, the driver. As if born from an ink darkness are coming Vitjas wife Zoya and a young man Yegor. The Moon is looking into the window and under its gaze can happen even the most inexplicable “affairs of heart”. Everything in the life of Vitja and Zoya that was bright, amorous and clear is thawing. People search for one another, diffidently grasping remains of happiness, they want to help, feel sorrow... But when the nonreality is gradually flooding the soul and when the limit is reached, the breath of life ends...

Something evil, witch-like is undoubtedly in some of the Nina Sadur characters. Perhaps, the author believes in recarnation? Often she writes about people, in whose bodies live the souls of animals – wolves, and swallows. Yegor, the main character of plays “Bastard” and “Moon Wolves” – is an apparent young wolf, lost in the human “pack”. What to do with the constant werewolf metamorphosis of the just and the sinful, convergence of everyday life with devilish symbolic – only the God knows that!

Inspite of this, we would err, if we would take, what is happening on the stage, too seriously. Humour as a separate substance is present in all three one-act plays.

Plays of Nina Sadur have been written some time ago. Ten years to be exact. Disorder, imbalance, uselessness – all these are characteristic for the consciousness of the early 1980's, but our disorderliness isn't any worse than the previous one, it has only different colouring. This is, why the everyday realities, encompassing the plays “ground” are perceived by us indirectly, but the desire for miracle has remained. Now we understand all calls, other existences, mystifications, ebbing and flowing of the moonlight. We Like the “self-deceit” so much! There is no painful wriggling, rather natural defensive reactions of existence. “Attempts to change” in the moments of no way out are worthy of compassion. And to laugh at oneselves does not hurt either.

Marina Berlinová


directed by Vladimir Tumanov
set design: Alexandra Oplovová
music: Ivan Blagoder
cast: V. Kucharešin, T. Grigorevová, A. Byčkov, P. Zurovlev, E. Burjak , A. Dežonov, D. Lesnikovová