Anna Karenina
at the Theatro Technis.
Taken from the Tolstoy novel translated adapted and directed by Victor Sobchak.
This version of the famous Russian novel gives the impression that no Expense has been spent with not a single production value in sight. No furniture – not even a chair or sofa. Whatever sitting or lying down the members of the cast, had to sit or lie down on the bare boards of the stage being lit by a young woman in the audience operating a single spotlight trained on centre stage.
Some people might call it minimalist, but I think it is a shame that this very useful theatrical space is being demeaned by an unfortunately amateurish production.
The girls playing Anna, Amanda Lara Key should be getting better opportunities to show her talent. I know there is very little work around and getting a decent part is almost impossible in the current theatrical situation. The question is should actors appear in this kind of production rather than not appear at all. I daresay it is possible that somebody might come and discover her.
In fact all three leads are reasonably talented and experienced people. One could even almost hear every word they were saying.
Lucien Morgan comes off well as Karenin, the rich husband of Anna . This is probably the best part in the play and Victor showed some wisdom in allowing it to be played by an actor with some kind of background
.There is a ballroom scene requiring choreography supplied by Oliver Norfolk (who also plays Stiva) and it is carefully invented to suit the capabilities of the cast . I got the impression that many of them are students, but if so, whichever school they go to should concentrate on getting them to project enough for us to hear them. One of them – Justin Stathers – has some comedy potential but it is in great need of discipline.
The main problem is that the story is deprived of every chance to appeal. It seems inordinately long and it is told in jerky episodes and is difficult to follow.
There is not much to add. the only creative item is the little boy who comes on and plays with his toy engine every time there is a break in the action. This of course represents Anna’s final demise beneath a train.
A disappointing production.
pyekan 