Green is the color of love and hate. Star Frankiv Drama Theater opened its 85th season
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After the success of the film “Dovbush”, in which the top actors of the Frankiv Drama Theater were involved, as well as due to the systematic conceptual work of its artistic director Rostislav Derzypilskyi, the jubilee season of this Carpathian theater attracts considerable attention of Ukrainian connoisseurs. So, for the opening of the 85th season with a play based on Friedrich Schiller’s work “Treachery and Love”, the Ivano-Frankivsk Drama Theater gathered audiences from all over Ukraine. In particular, Maryana Semenyshyn from Kyiv, who shares with UP.Zhyttia her impressions and reflections on what she saw. Hoping to inspire other Ukrainians to go to a performance of the Carpathian Franka Theater at least once this season. Celebrating Ivan Yakovych’s birthday with the opening of the new season, the people of Frankiv announced ambitious plans – productions of classic European works, Ukrainian classics and modern literature, and new festivals. Thus, the theater continues the work of its patron – by “tireless work” to bring Ukrainian and European cultures closer, or else – to remind about their specific kinship. The jubilee season will rightfully draw attention to the Ivano-Frankivsk National Academic Drama Theater named after Ivan Franko. But the Carpathian Franks declared themselves long before him. In recent years, the theater not only formed an original repertoire, but also initiated the “PORTO FRANKO” and “Time of the Theater” festivals. The team actively tours in Ukraine and the world, experiments with space, transforms the city. The success of the theater can be attributed to the genius loci of Frankivsk, but the Frankivsk Drama Theater is primarily people who are united by a deep understanding of art: authentic, conscious, open to the world. The first spectators of the opening performance of the 85th season. Photo: Frankiv Drama Theater Therefore, the choice of Schiller, the author of the words of the European anthem, and the polyphonic team of artists who created the performance – from Kyiv, Odesa, Ivano-Frankivsk, Kryvyi Rih – is not accidental. It seems to remind of that dialogue of cultures, styles and traditions, which never stopped, and during the war became vitally important. It is symbolic that Ivan Uryvskyi, the director of another theater named after Franko – the Kyivskyi, was invited to open the season by Stanislav Frankivskyi. For Uryvsky, with his magical, minimalist approach to reading both Ukrainian and world classics, this is the first production with the Franks. Of course, this cooperation fueled interest in the premiere. Ivan Uryvskyi with the actors of the play. Photo: Frankivsk drama theater Another “Frankivite” from the capital, Petro Bogomazov, became the production designer of the play. Costume designer – Tetyana Ovsiychuk. In the love story of his heroes Louise Miller and Ferdinand von Walter, Friedrich Schiller compares the morals of different classes and generations, contrasts the openness of the world with the suffocation of a small town. Ivan Uryvskyi condenses Schiller’s antitheses with the hermetic space of a greenhouse. The glass walls, letting in the sunlight, securely hold the secrets of the inhabitants of the “nursery”: the Millers, Walters, Lady Milford. All the action takes place between trees bound by flower pots. The metaphorical nature of this decision is fascinating: each of the characters seems to be bound twice – by the limitations of their condition and by personal attachments, by feelings that give wings and limit at the same time. Photo: Frankiv Drama Theater In a garden created by breeders, an excess of fluorescent light and the deceptive mobility of flower pots cannot replace real sun and soil. Greenhouse plants reach for the scorching rays and want to grow into the ground, even at the cost of their own lives. It is the same with Schiller: the patriarchal relationship between family and society competes with the individual choice of the new generation, which wants to try to live its own life and get rid of burdensome conventions. Read also: Does fairy-tale oblivion save from hellish reality? Notes from “The Witch of Konotop” at the Franko Theater in Kyiv In Uryvskyi’s play, the metaphor of the closed space of the nursery emphasizes the internal confrontations that grow within the characters during the action. Each and every one of them nurtures their own feelings: Louise (Maria Stopnyk) – love for Ferdinand, who opens the world to her, Miller (Pavlo Kilnytskyi) – respect for his daughter’s choice, von Walter (Roman Lutskyi) – cynical calculation, Lady Milford (Nadia Levchenko) – desperate hope for cleansing from the past and true love, Ferdinand (Ivan Blindar) – all-consuming jealousy. Therefore, it is not surprising that Wurm (Aleksii Leibuk), the embodiment of trickery, does not just appear on the stage, but breaks out of the closed soil of the pot grown by von Walter, like his continuation, which, unlike his own son, was created “for image and likeness”. Roman Lutskyi. Photo: Frankiv Drama Theater And in this one feels an allusion to another garden, the Garden of Eden, where the first people live, free from the cares of the outside world, until they fall into sin. Ivan Uryvskyi sends us to this archetype of disappointment of an experienced breeder-creator; archetype of relations between children and parents. Ferdinand and Louise quickly feel the limitations of their position and try to break free, thereby dooming themselves to suffering and death. In turn, Miller and von Walter experience the children’s rebellion in different ways: one painfully accepts it, and the other tries to impose his destructive will. Photo: Frankivsk Drama Theater Probably the only one who is saturated with the suffocating fumes of the greenhouse is Wurm (literally “wurm” – “worm” in German). It is here that he feels at his best: the hermetic closure of a small town and moral conventions do not limit, but add confidence to his insidious intentions. He, like no one else, learned to play by the rules, which ultimately guarantees him immortality. In the finale of the play, life continues in almost the simplest of its forms: in the greenhouse, which until recently was teeming with greenery, it is Wurm who sprouts a sprout. Along with plasticity (a decision by Pavel Ivlyushkin), a combination of modern and classical musical styles, which have already become Ivan Uryvskyi’s trademark, color plays an important role in “Deceit and Love”. Photo: Frankiv Drama Theater Petro Bogomazov and Tetiana Ovsiychuk use the entire palette of shades of green: from the emerald outfit of Lady Milford to the almost ape-like outfit of Louise; from the lush greenery of the garden to the dirty, gray-green overalls of the “selectors” and the earthy Wurm. The color is like a tuning fork of the performance: constantly changing, it emphasizes the exuberance of love, then the burdensome suffocation of conventions, then, in the end, all-conquering conviviality. Having opened the season with the premiere of “Treachery and Love” by Ivan Uryvskyi, the Frankivians are preparing more than a dozen new productions: Rostyslav Derzypilskyi promises to surprise with a new vision of “The Kaidash Family”, as well as stage a play based on the work of Taras Shevchenko; Nazar Paniv is preparing premieres for Irene Rozdobudko and Leopold von Sacher-Masoch. Polish director Maya Kleczewska will come to Ivano-Frankivsk for the second time, this time to stage “Lady Macbeth”. For the first time, the theater will cooperate with the Slovenian director Tomi Janezic, Mihai Tarna from Moldova will stage “Don Quixote”, Lithuanian Jokubas Brazis will offer his reading of Sartre. The people of Frankivsk plan to celebrate the end of the jubilee season as well as its beginning – in the last week of June in Ivano-Frankivsk they plan to hold a Shakespeare festival. All that remains is to sincerely wish the people of Frankonia – good luck! Read also: “Showing foreigners the Ukraine of the future”: the English-language theater festival Ukraine Fringe has started in Kyiv
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