{"id":7326,"date":"2019-06-09T04:10:28","date_gmt":"2019-06-08T23:10:28","guid":{"rendered":"http:\/\/www.arlekinplayers.com\/?p=7326"},"modified":"2021-04-06T09:49:08","modified_gmt":"2021-04-06T13:49:08","slug":"theater-review-the-stone-nobody-is-innocent","status":"publish","type":"post","link":"https:\/\/nashboston.com\/arlekinplayers\/theater-review-the-stone-nobody-is-innocent\/","title":{"rendered":"Theater Review: \u201cThe Stone\u201d \u2014 Nobody is Innocent"},"content":{"rendered":"

Publication date:<\/strong> June 6, 2019<\/p>\n

\n

Publishing URL:<\/strong> Broadway World<\/a><\/p>\n

\n

Author:<\/strong> Erik Nikander, The Arts Fuse<\/p>\n

This marvelous production pulls off a tricky balance \u2014 vibrant bursts of creative energy are put at the service of illuminating the thorny nature of memory and guilt.<\/p>\n

The Stone by Marius von Mayenburg. Directed by Igor Golyak. Staged by Arlekin Players Theatre at the Studio 368 at Hillside Avenue, Needham, MA, through June 9. (These performances are in Russian with audio-translation in English. The show will return September 13th \u2013 22nd in English.)<\/p>\n

\"A<\/a>
A scene from Arlekin Players\u2019s production of\u201dThe Stone.\u201d Photo: Arlekin Players.<\/figcaption><\/figure>\n

The Arlekin Players production of Marius von Mayenburg\u2019s The Stone<\/em> is, in a word, bold. The script tackles rich. relevant, and meaningful themes,  and Igor Golyak\u2019s captivating visual approach does the material justice . The play bears a certain resemblance to recent New Rep production We Will Not Be Silent<\/em>, in that both plays address the legacy of Nazi terror in a way that resonates with the current moment to a distressing degree. That said, Silent<\/em> tells a relatively straightforward story of one woman\u2019s struggle against injustice; The Stone <\/em>is more akin to a theatrical puzzle box that confronts audience members with a fragmented family history, challenging them to find moral clarity amid a miasma of lies and exploitation.<\/p>\n

In 1935, German couple Witha (Darya Denisova) and Wolfgang (David Gamarnik) buy a house from a Jewish couple so that they can flee to America and escape Nazi persecution. Years later, after Wolfgang is killed in the war, Witha is forced to leave the home with her young daughter Heidrun (Viktoriya Kovalenko). They eventually return, once Heidrun is grown and expecting a daughter of her own, Hannah (Olga Sokolova). In 1993, Hannah\u2019s teacher asks her to tell the story of her role model and Heidrun suggests she choose Wolfgang because of his noble deeds. But, as Hannah learns more about the past, she grows less and less certain of the virtue of her family\u2019s legacy.<\/p>\n

To say much more than that would be to ruin part of what makes The Stone<\/em> such an engrossing evening. The play jumps back and forth chronologically, gradually revealing a saga that plays out over six decades. It\u2019s as if we\u2019re peeling bandages away from a wound that refuses to heal until we\u2019re left witnessing the full extent of the injury. The Stone<\/em> engages with the evils perpetrated by the Third Reich, so its vision of mankind doesn\u2019t shy away from humanity\u2019s darkest misdeeds. Still, there is a valuable lesson here: an example of the damage that can be done when a family (or a nation) decides it\u2019s easier to whitewash past mistakes than acknowledge the truth. Given that America seems determined to influence Venezuela\u2019s current leadership (after our disastrous Reagan-era meddling in Latin America), the show\u2019s warning against amnesia worth is one current theatregoers ought to hear.<\/p>\n

None of the female protagonists in The Stone<\/em> is anything close to an ardent Nazi. They were passive participants carried along by history, innocent of anti-Semitic hatred yet perfectly willing to profit from its aftermath. Denisova and Kovalenko layer their performances with hints of unease and residual guilt. They also take on the additional challenge of playing their characters at vastly different ages, completely altering their physical bearing and vocal delivery to make each stage of life distinct. We follow Witha from youthful innocence to war-hardened tenacity and, finally, to the emotional freedom provided by grandmotherhood. Heidrun, at first a timid child left fatherless by war, grows into a proud woman determined to defend her family\u2019s honor. We don\u2019t experience their transformations in linear fashion, but the actors portray their time-hopping arcs with purpose and clarity.<\/p>\n

As Hannah, Olga Sokolova at first exudes deftly childish impudence but, as the play progresses, she beings to realize that she may not be able to trust the world she thought she knew. She learns the full extent of her family\u2019s history as we do \u2014 which adds considerable emotional power to her journey. Though Wolfgang comes off as a ghost or a memory throughout much of the story, David Gamarnik gives the figure a memorable verve, ensuring that the patriarch\u2019s influence over the family continues long after his death.<\/p>\n

\"A<\/a>
A scene from Arlekin Players\u201ds \u201cThe Stone.\u201d Photo: Arlekin Players.<\/figcaption><\/figure>\n

In fact, Golyak stages scenes so that, even when certain performers aren\u2019t \u2018on-stage,\u2019 they are treated as lingering visual presences, stirring off in the shadows while other characters interact. This is a brilliantly dramatic touch: Mieze, the Jewish woman who initially owns the house, is visible throughout the play; she sits motionless, eyes brimming with righteous judgment. Rimma Gluzman supplies Mieze with a heartbreaking aura of tragedy mingled with dignity \u2014 her presence leaves a haunting, indelible imprint.<\/p>\n

Golyak\u2019s visual imagination in this production is striking, to the point of being hard to shake off. Scenographer David R. Gammons\u2019s set consists of a wide, oval-shaped platform with a central \u201cgarden\u201d opening filled with grey detritus. The stage is surrounded by CRT televisions; video director Vladimir Gusev uses the screens to play hidden-camera shots of the action along with trippy scene-transition clips that are accompanied by Jakov Jakoulov\u2019s heart-pounding music. Jeff Adelberg\u2019s lighting work bathes the stage space in a colorful, shadowy ambiance while Nastya Bugaeva dresses the principal characters in white clothing that is stained at its edges by streaks of dirt \u2013 a clever metaphor for the tarnished souls of the \u2018innocent.\u2019<\/p>\n

While the show\u2019s overall style is resolutely distinctive, from time to time the visuals and jagged narrative rhythm becomes a bit too alienating \u2014 the audience isn\u2019t just distanced (a la Brecht) from the action, but pushed away. Scenes flash by in such quick succession that, on occasion, confusion results. Several longer dialogue exchanges, especially between Witha and Heidrum, break from this skittery norm; they prove that there\u2019s plenty of emotional material for the show to dig into. It\u2019s hard not to wish the staging took the time to do so more often. But this is a minor quibble. The Stone<\/em> is never less than theatrically compelling. This marvelous production pulls off a tricky balance \u2014 vibrant bursts of creative energy are put at the service of illuminating the thorny nature of memory and guilt.<\/p>\n","protected":false},"excerpt":{"rendered":"

Publication date: June 6, 2019 Publishing URL: Broadway World Author: Erik Nikander, The Arts Fuse This marvelous production pulls off a tricky balance \u2014 vibrant bursts of creative energy are put at the service of illuminating the thorny nature of memory and guilt. The Stone by Marius von Mayenburg. Directed by Igor Golyak. Staged by […]<\/p>\n","protected":false},"author":5,"featured_media":7104,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ub_ctt_via":"","footnotes":""},"categories":[9,36],"tags":[],"class_list":["post-7326","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-news-room-reviews"],"featured_image_src":"https:\/\/nashboston.com\/arlekinplayers\/wp-content\/uploads\/2019\/05\/36.jpg","author_info":{"display_name":"Irina","author_link":"https:\/\/nashboston.com\/arlekinplayers\/author\/irina\/"},"yoast_head":"\nTheater Review: \u201cThe Stone\u201d \u2014 Nobody is Innocent<\/title>\n<meta name=\"description\" content=\"Publication date: June 6, 2019 Publishing URL: Broadway World Author: Erik Nikander, The Arts Fuse This marvelous production pulls off a tricky balance \u2014\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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