Review: VANYA IS ALIVE, Omnibus Theatre

In this masterfully crafted one-hour solo performance, Vanya is Alive presents a universal tale of state oppression through the intimate lens of maternal grief. Currently running at the Omnibus Theatre, this English translation of Natalia Lizorkina's work transcends its Russian origins to illuminate broader truths about authoritarian control.

The narrative centres on Alaya, a mother who receives news of her soldier son's death at war. She stages a solitary protest, confronting a system that responds with calculated brutality. The title's ironic declaration becomes a potent metaphor for governmental manipulation of truth, while serving as a springboard for exploring themes of resistance and societal compliance. Through Alaya's defiant stand, the piece methodically unravels how oppressive regimes weaponise fear to maintain control, encouraging citizens to ostracise dissenters while making a mockery of constitutional rights.

The production ingeniously employs digital messaging and video projections to contrast personal truth with state propaganda. These elements serve as powerful metaphors for how modern autocracies manipulate information. The juxtaposition of Alaya's intimate text messages with her son against the stark official announcements crystallises the gulf between personal experience and state-sanctioned narratives. The solitary performance and Alaya's isolated protest evoke parallels with Orwell's 1984, particularly in depicting how authoritarian governments systematically isolate citizens who dare to question official narratives.

Nikolay Mulakov delivers a compelling performance, seamlessly embodying seventeen distinct characters. Each portrayal illuminates different facets of a society grappling with suppressed truths and manufactured fears. Director Ivanka Polchenko employs minimalist staging to brilliant effect – a simple spotlight and sparse sound design create an intimate atmosphere that amplifies the text's power. The Omnibus Theatre's compact auditorium, seating approximately 90 people, proves ideal for this production, allowing the subtle nuances of Mulakov's performance to reach every viewer effectively.

What distinguishes this production is its ability to speak simultaneously about contemporary Russia and any society where truth becomes a casualty of power. References to consumer goods and propaganda feel both specifically rooted and universally applicable in different times and places, creating layers of meaning that reward careful attention. The piece masterfully demonstrates how the concept of freedom becomes distorted under authoritarian rule, where even the act of mourning transforms into a form of political resistance.

Originally presented as a reading at Russian-speaking theatre festivals throughout 2022, this English adaptation, which premiered at the 2023 Edinburgh Fringe Festival, loses none of its original potency. For those seeking theatre that combines intellectual rigour with emotional depth, Vanya is Alive offers a compelling examination of how political oppression operates through the most intimate of human relationships.

Vanya is Alive is at the Omnibus Theatre until 8 February

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