By Alexis Soloski
By Molly Grogan
By R. C. Baker
By Christian Viveros-Fauné
By Alexis Soloski
By Alexis Soloski
By Lilly Lampe
The Belarus Free Theatre hails from a country where its dangerous to say much of anythingand now that theyre here, they have a lot to say. Acting as theatrical emissaries from one of Europes harshest corners, the company presents a searing indictment of Aleksandr Lukashenkos dictatorial regime. Their trio of testimonial playsBeing Harold Pinter, Zone of Silence, and Discover Love (co-produced by the Public and La Mama, running in rep at La MaMa) achieve varying levels of theatrical finesse. But all three bring stark urgencysupported by the ensembles fierce performancesto the task of tirelessly reporting on the country theyve temporarily left behind.
In his 2005 Nobel Prize acceptance speech, Harold Pinter meditated on languages unsettling ambiguitiesits ability to simultaneously describe and mask reality. These observations drive Being Harold Pinter, a nightmarish concoction combining text from Pinters speech, scenes from his politically suggestive dramasThe Homecoming, One for the Road, Mountain Languageand testimony from Belarusian political prisoners.
Adapted and directed by Vladimir Shcherban, Being Harold Pinterstages languages complicity in authoritarian regimes: interrogators relish extravagant euphemisms, seemingly innocuous conversations are loaded with danger. Graphic torture sequences accompany the Pinter scenes (one features a terrifying castration-by-burning-marshmallow). When the cast relates Belarusians testimony, by contrast, the stage is eerily calm. Performers speak in darkness, their faces lit by flashlightslending their own language the gravity of recently experienced truth.
Zone of Silence describes the territory devastated by Chernobyl, much of it Belarusianand, by implication, the whole suppression-stifled country. This production, also directed by Shcherban, presents a panoramic view of the troupes homeland (and a sprawling one, at two and a half hours; fewer disturbing tales might have been disturbing enough).
The play begins with childhood stories, many revealing shades of authoritarianism in daily life: One girl must stand naked in a boys dormitory as punishment for misbehavior; another is forcibly removed from her adoptive Italian family and repatriated. Folk songs, dances, and striking stage images punctuate the narrative: At one point, a makeshift newspaper puppetthe orphan, back in Belarusflings itself despairingly at a window sketched in chalk.
Later, Zonebecomes a cascade of projected statisticsfrom the dismaying (72% of Belarusians find it difficult to define the word democracy) to the darkly funny: 242 Belarusian cows recently trampled an electric fence on the countrys border, in their apparent desperation to escape to Poland.
Zone, too, concludes in darkness. Atop a hastily taped-together metal column, a red light flashes desperately, the only thing visiblea concise image for an entire country in a state of emergency.
Discover Love, written and directed by Nikolai Khalezin, is the least theatrically complex of the three pieces, though its story, based on real events, is no less compelling. Two performers recount the history of a happy marriage: their impromptu wedding, their hard-won prosperity, their unfading intimacy. Then, one ordinary day, the husband is abducted and murdered for his support of the countrys democracy movement.
This reversal would wrench harder if Discover Love didnt veer into a recitation of international statistics on disappearances, comparing Belarus to Latin Americas dirty wars. These connections are already apparent, and unlike in Zone of Silence, data doesnt expand the story in unexpected ways.
Even here, though, simple actions suggest unimaginably brutal realities. After his big scene, the husbands killer slips off his black ski mask and casually walks offstagejust another day in a country where staging terror is a daily routine.