{"id":7376,"date":"2019-07-06T23:00:31","date_gmt":"2019-07-06T18:00:31","guid":{"rendered":"http:\/\/www.arlekinplayers.com\/?p=7376"},"modified":"2021-04-06T09:49:07","modified_gmt":"2021-04-06T13:49:07","slug":"boston-globe-review","status":"publish","type":"post","link":"https:\/\/nashboston.com\/arlekinplayers\/boston-globe-review\/","title":{"rendered":"In Russian or English, Arlekin Players hope audiences feel the weight of \u2018The Stone\u2019"},"content":{"rendered":"
\n
\n\t

Publication date:<\/strong> May 15, 2019<\/p>\n

\n

Publishing URL:<\/strong> The Boston Globe<\/a><\/p>\n

\n

Author:<\/strong> Terry Byrne, Globe Correspondent<\/p>\n

\"A
\nA scene from Arlekin Players\u2019 production of \u201cThe Stone.\u201d(NATHAN KLIMA FOR THE BOSTON GLOBE) <\/p>\n

Within the walls of a house in Dresden, Germany, the ghosts of a troubled past echo across the decades. Arlekin Players Theatre artistic director Igor Golyak says German playwright Marius von Mayenburg\u2019s play \u201cThe Stone\u201d captures the struggle individuals experience as they try to reconcile disturbing moments in their past and find a way to move forward.<\/p>\n

Arlekin Players will present \u201cThe Stone\u201d in Russian with audio translation in English, May 17-June 9 at the company\u2019s theater, Studio 368 in Needham. The production will return in an English translation Sept. 13-22, part of the company\u2019s new effort to reach a broader theater audience.
\n\u201cI was fascinated by the way the memory of hardships seeps into our genes,\u201d says Golyak. \u201cWhat happened with the Nazis has been imprinted on the German DNA, and individuals struggle with it, whether they know exactly how complicit their family members were, or not.\u201d<\/p>\n

\u201cThe Stone\u201d follows three generations of Germans who live in one home at different times. The play opens in 1935, when a young couple \u2014 a veterinarian and his wife \u2014 purchase the house from a Jewish family. The veterinarian\u2019s family leaves after the war for reasons that remain mysterious; it is illegally occupied in the 1970s and \u201980s; and then the veterinarian\u2019s adult daughter and her teenage daughter reclaim the home in the 1990s. As secrets are uncovered and narratives rewritten, the action of the play shifts back and forth in time from the 1930s through today.<\/p>\n

\u201cThree generations of women struggle with complicity with Nazi atrocities,\u201d says Golyak. \u201cThe youngest girl is only 15, and although she is not responsible for the actions of earlier generations, she has to deal with the consequences.\u201d
\nGolyak has been a fan of Mayenburg\u2019s plays, which have never been produced in the United States.
\n\u201cHis plays address issues younger generations are confronting,\u201d Golyak says, \u201cand he does it in a way that is very theatrical and emotional.\u201d<\/p>\n

Although \u201cThe Stone\u201d specifically addresses the efforts of Germans to come to terms with their past, Golyak says that experience is shared by many. Golyak himself emigrated from Russia and says he and his contemporaries are dealing with the legacy of the Soviet Union, even though he was only a child when it was dissolved.<\/p>\n

Arlekin Players won an Elliot Norton Award last year for Golyak\u2019s imaginative production of \u201cDead Man\u2019s Diary,\u201d which was compelling and clear even though it was performed in Russian with English audio translation. To meet audience expectations and the demands of Mayenburg\u2019s play, Golyak turned to award-winning director and designer David R. Gammons and lighting designer Jeff Adelberg.<\/p>\n

\u201cWe needed to combine the realism of a house with the metaphor of memory and time,\u201d says Golyak. \u201cThere is a door in the floor, and access to the dirt below, but David and Jeff understood how important it was to use light and shadow and the parameters of the stage to create the tension in the room.\u201d<\/p>\n

Golyak eschews the traditional proscenium stage, partly because Arlekin\u2019s second-floor theater in Needham doesn\u2019t accommodate one, but many of the European productions he sees play with the space they are in as a way to engage the audience in the action.<\/p>\n

\u201cTheater is a living, breathing art,\u201d he says. \u201cWe want to make sure audiences are excited and energized, as well as entertained.\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Publication date: May 15, 2019 Publishing URL: The Boston Globe Author: Terry Byrne, Globe Correspondent A scene from Arlekin Players\u2019 production of \u201cThe Stone.\u201d(NATHAN KLIMA FOR THE BOSTON GLOBE) Within the walls of a house in Dresden, Germany, the ghosts of a troubled past echo across the decades. Arlekin Players Theatre artistic director Igor Golyak […]<\/p>\n","protected":false},"author":6,"featured_media":7050,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ub_ctt_via":"","footnotes":""},"categories":[9,36],"tags":[],"class_list":["post-7376","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\/9.jpg","author_info":{"display_name":"Olga Sokolova","author_link":"https:\/\/nashboston.com\/arlekinplayers\/author\/olga\/"},"yoast_head":"\nIn Russian or English, Arlekin Players hope audiences feel the weight of \u2018The Stone\u2019<\/title>\n<meta name=\"description\" content=\"Publication date: May 15, 2019 Publishing URL: The Boston Globe Author: Terry Byrne, Globe Correspondent A scene from Arlekin Players\u2019 production of \u201cThe\" \/>\n<meta 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