Soviet-era playwright Lyudmila Razumovskaya’s Dear Elena Sergeevna is very rarely performed. Dating back to early 1980s Russia, the play was commissioned by Russia’s Ministry of Culture, but it was soon banned, deemed “too provocative” for the Soviet stage. The USSR took issue with its exploration of the disenfranchisement of youth against a system of government that favours nepotism and, above all, wealth. (Sound familiar?)
This new staging from Last Waltz Productions enters the Late Night slot at the Old Fitz, signalling a swift change of pace from the bubbly, rom-com-adjacent theatricality of the Mainstage production, Amber. The clause for all Late Night shows at this beloved pub theatre, is that they must work around the mainstage show’s set. To this end, Dear Elena Sergeevna feels cluttered, with most of the action taking space downstage right, and only small scenes occurring on the other side of a thin wooden divider suggesting a kitchen.
As the titular Miss Elena Sergeevna, a world weary and proper teacher, Teodora Matović flits about the space, shielding off the audience as they enter, slowly crafting an invisible fourth wall before the piece begins. This continues throughout, as director Clara Voda shifts the audience well and truly into the world of the omniscient. We are here to bear witness to Razumovskaya’s unforgiving exploration of humanity, in a production that is unflinching in its portrayal of dramatic tension.
This is theatre that is confronting and cruel, with performances that are exciting, bold and captivating...
Four students surprise their beloved teacher on her birthday, pounding on the doors outside the theatre (causing audiences to think some intoxicated patrons from upstairs must have missed out on tickets). They enter in a clamour of joyful tidings and gifts – but there is an immediate, uneasy sense that the students have an ulterior motive. Faisal Hamza’s Volodya darts around like a spider, sneakily creating a well-laid web in which to catch his prey. Harry Gilchrist’s Vityok swigs from a flask once the group’s gift of Champagne is finished. Toby Carey’s Pasha comes across as a subdued leader of the group, a sense of dominance underlying his quiet presence. Meanwhile, Madeline Li’s Lyalya remains in mostly silent complicity, under the arm of boyfriend Pasha.
Before long, the true reason for this impromptu visit is revealed, as the group attempts to persuade Elena to give them the key to the safe that holds their mathematics exam papers – which they most recently and assuredly have failed. In order to keep their academic progress and their bright futures intact, they need to falsify their records. Elena stands resolute in her values as the students attempt to coerce her, refusing to hand over the key. And thus, the deadlock of the night begins – and Razumovskaya’s exploration of power, desperation, and the rejection of morality is woven into the lyrical language.
Voda’s direction is kept fresh, with the ensemble providing an enticing, almost improvised quality to Razumovskaya’s language. This energy does stall towards the middle of the piece, as the overlapping dialogue can become tiresome. It also grows shockingly uncomfortable in the play’s later half, as an air of danger makes its way into the intimacy coordination. But ultimately, this production makes for a thrilling exploration of Razumovskaya’s rich subtext.
Hamza gives an impressive Tarantino-esque villain quality to Volodya, as his lust for power above his station pushes his “experiment” to cruel heights. Meanwhile, Matović’s Elena cements herself as an immovable object, and her eventual climactic outburst is jaw-dropping in its brutality. Opposite, Li’s portrayal of Lyalya’s abuse is given space to breathe, playing a key part in what this play’s ultimate payoff: its profound realism.
This is theatre that is confronting and cruel, with performances that are exciting, bold and captivating. Dear Elena Sergeevna might not be your first choice for a late night theatrical experience, but the creative team at Last Waltz Productions give an outstanding argument for why it should be.
[Content Warnings: coarse language; depictions of verbal, physical, and sexual violence.]
Dear Elena Sergeevna is playing at the Old Fitz Theatre, Woolloomooloo, until April 11, 2025. Tickets are on sale for $27.50+bf over here. (Tip: you can save 20% on tickets when you book in for both the Late Night show and the Mainstage show, Amber. Find out more at oldfitztheatre.com.au.)
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