THE KAMERNY THEATRE

Hawke's Bay Tribune, Volume XXVI, Issue 147, 6 June 1936, Page 14

THE KAMERNY THEATRE

Russians in London INTERESTING REPERTORY The Kamerny Theatre company paid a month’s visit to London at the end of April, sponsored by the Russian Embassy in London, the British Embassyin Moscow, and many other important people (says a London theatre correspondent). The Kamerny Theatre has an interesting history. Its function throughout the twenty years of its life has been to stand as an intermediary between Russia and the rest of European culture. It has specialised in European and American plays, giving in the middle of Moscow (in Russian) Shaw, Moliere, Shakespeare, Wilde, O’Neill, Synge and Racine.

Its personal history is also interesting. It was founded twenty years ago by Tairov, its present director, Alice Koonen, its present leading actress, a couple of friends, and a waiter. All of them —Tairov, Koonen, the friends, and the waiter, took the same salary of a few shillings a week. The Tsarist regime was still in force, and they were looked upon as very subversive because they produced Synge’s “Playboy of the Western World.” The Revolution came and times were harder still. Tairov and Koonen (now Madame Tairov) subsisted mostly on pieces of bread and the company agreed to keep together as long as it could without even the payment of its few shillings. A little later the Government decided to recognise the theatre, and to assist it; and a little later again built it one of the finest and largest theatres of Moscow, where it is still lodged. 1 have seen its performances for weeks on end, and I have never seen such a thing as a vacant seat. The problem of the London repertory was a difficult one. In view of the fact that most Londoners w r ould be listening to a language of which they did not understand a single word, it seemed wise to select in general plays of which the London public was likely to have some idea already. The programme was, therefore, made out of the following: Ostrovsky’s “Storm,” first because it is a famous Russian classic, and secondly because it was played in London, at the Everyman, Hampstead, some years ago, and a good English translation is available. Two, “Egyptian Nights,” the complete history of Cleopatra as related by Shaw, Pushkin, and Shakespeare. The Shaw part of it has been cut short, and the Pushkin part of it shorter still. It is an interesting experiment, showing the growth of Cleopatra from the kittenishness of her youth to the tragedyqueen of the last great scenes. Alice Koonen gave a performance with some marvellous moments in it.

Three, “The Optimistic Tragedy,” a war-play of the Revolution. It is a melo-drama, and shows a woman taking command of a regiment—a piece of fantasy, one would think, except that it actually happened in certain historical cases. To see Alice Koonen play Cleopatra and the regimental commander on successive nights is an experience. Her variety and range are astonishing. Four, a version of the old Parisian musical comedy '' Girofle-Girofla, ’ ’ since whether one understands the words or not in a musical comedy is immaterial. Lastly, O’Neill’s “All God’s Chillun Got Wings.”

It is important to point out that the Kamerny is only one theatre among 30 or 40 in Moscow, and has its own limited range and technique. It docs not go in for the brilliant realism of the First Moscow Art Theatre, nor the wild experimentalism of certain other Moscow producers who send their act ors crawling round the walls and ceiling and permit them to act anywheie but on the stage. It steers a medium course. It is the first modern Russian company to visit London.