In the hallowed halls of Moscow`s Lenkom Theatre, a significant artistic transition is underway. Actress Anna Yakunina, widely recognized for her television roles and stage presence, has embraced a formidable challenge: stepping into a role in the play **”Lies for Salvation”** (original Russian: *«Ложь во спасение»*) previously embodied by the late, legendary **Inna Churikova**. This transition is not merely a change of cast; it`s a profound exploration of theatrical legacy, personal interpretation, and the enduring power of a story where truth and illusion intertwine.
Anna Yakunina takes on the complex role in “Lies for Salvation” at Lenkom Theatre.
The Weight of a Legend`s Footsteps
For any actor, inheriting a role is a delicate dance between homage and innovation. When that role was meticulously crafted and passionately performed by a titan of the stage like Inna Churikova, the task becomes Herculean. Churikova, a prima of the Lenkom Theatre and a beloved figure in Russian cinema and theatre, imbued her performances with unparalleled depth and a unique, often eccentric, charm. Yakunina herself admits to initial apprehension, a natural response when facing such a revered predecessor.
“When I was offered to join the play, I immediately said, `Let me think about it.` After all, I saw Inna Mikhailovna in this role when she wasn`t feeling well, but continued to work,” Yakunina shared. “I thought for a day, and then decided: `Why not, actually? The play is alive, the sets are alive. So, I will do it in memory of Inna Mikhailovna with love. But absolutely in my own way, yet subtly hinting that this was indeed her role.`”
This sentiment perfectly encapsulates the actor`s dilemma: how to honor a legacy without becoming a mere imitation. Yakunina`s decision to approach the role with both love and personal interpretation speaks volumes about her respect for Churikova`s artistry and her own confidence as a performer.
“Lies for Salvation”: A Narrative Woven with Deception
The play itself, an adaptation of the Spanish dramatist Alejandro Casona’s **”Trees Die Standing”** (*”Los árboles mueren de pie”*), was given its unique form and title by none other than **Gleb Panfilov**, Churikova’s renowned film director husband. His 2013 production for Lenkom was a testament to their deep creative partnership, featuring a radical approach to a text that had been a staple of Soviet-era theaters. Panfilov streamlined the cast, re-imagined the ending, and incorporated four on-stage screens to broadcast live close-ups of the characters, adding an intriguing layer of meta-theatricality to the unfolding drama.
The plot, at its heart, is a poignant exploration of compassion and the lengths one might go to preserve a loved one`s happiness, even if it means constructing an elaborate illusion. A grandmother, Señora Balboa, pines for her wayward grandson, who was banished years ago for his misdeeds. To spare her the pain of his true fate, her husband fabricates a story of his redemption, sending her letters from a supposedly reformed and happily married grandson. The benevolent deception escalates when they hire an acting firm to provide a living, breathing `grandson` and his `wife` for a visit. The “technical” execution of this plot on stage, particularly with Panfilov`s cinematic touches, serves to amplify the emotional stakes, leading to a tragic denouement when the real, unredeemed grandson appears, shattering the carefully constructed fantasy.
Yakunina`s Unique Voice and Theatrical Evolution
Anna Yakunina`s portrayal, while acknowledging Churikova`s original “pattern,” introduces a fresh dynamic. Partnering with Sergey Yushkevich, she notes a shift in the on-stage relationship between the characters. “When Inna Mikhailovna played with Vitya Rakov, they were still in different age categories, but Sergey and I are in the same one,” she explains. “And we brought more love between the characters into the play.” This subtle recalibration suggests a focus on the shared journey and intimacy of the couple at the heart of the deception, adding new emotional nuances.
One particular highlight is Yakunina`s performance of a tango, a scene Churikova also famously executed. While Churikova, in her later years, performed it with a delicate, age-appropriate caution that was nonetheless “grand,” Yakunina now embraces the full choreographic potential. “Now, when I danced the tango myself, I realized I was using all the possibilities of choreography, because I know things that drama actors sometimes don`t,” she remarks, with a touch of professional pride. This isn`t a boast, but an observation on the evolving demands and capabilities of actors across generations, and her personal joy in the physicality of the role.
Yakunina`s willingness to embrace roles of varying ages, including those of “grandmothers,” stands in contrast to some peers who might shy away from such portrayals. She sees it as an opportunity for artistic growth and diversity. “I honestly enjoy this age,” she states. “And I`m absolutely not afraid to play grandmothers, especially since I also have the opportunity to play non-grandmothers. My type allows me to play Gertrude in `Hamlet` one day, and a grandmother or Lyuska in `The Run` the next. Age, for many, is a benefit.” This practical, yet insightful, perspective underscores a seasoned actor`s understanding that true range transcends physical age.
The continuity of theatre, much like life itself, involves cycles of performance and renewal. Anna Yakunina, with her thoughtful approach and evident reverence for Inna Churikova`s legacy, is not simply filling a void; she is contributing a new chapter to the story of “Lies for Salvation.” Her performance serves as a reminder that great art is not static. It lives, breathes, and transforms through the talents of successive generations, ever resonating with audiences who seek truth, even within the most intricate of stage-managed deceptions.
