The Vakhtangov Theatre`s ambitious “Vakhtangov. Way Home” festival in Vladikavkaz has drawn to a close, concluding a week of diverse cultural events with a spectacular public concert held in Freedom Square. The event marked not only the end of the festival but also a significant moment in the city`s cultural calendar.
The closing concert featured a dynamic mix of performers, including Vakhtangov Theatre actor Viktor Dobronravov and his band, popular artists Valeria and Arsen Mukendi, the veteran group “Na-Na,” and vibrant local talent such as the Ossetian drummers “Rhythm of the Mountains” and dancers from the “Children of the Mountains” ensemble. The atmosphere was reportedly electric, even under the night sky.
As Kirill Krok, Director of the Vakhtangov Theatre, aptly put it, the festival aimed for theatre to “burst into the city.” This philosophy was evident in the choice to open and close the event with large-scale outdoor performances. The sentiment echoed Evgeny Vakhtangov`s quote, referenced on a local bridge: “No holiday – no performance,” implying that theatre`s purpose is to create a festive, engaging experience for the audience. By this measure, Vladikavkaz certainly had its theatrical holiday.
A Diverse Theatrical Landscape
Beyond the street festivities that sparked lively discussion and solidified Vladikavkaz`s potential as a `carnival city`, the indoor theatrical offerings showcased an expanding and diverse artistic landscape. The program included acclaimed productions like the Golden Mask-nominated “Aviator” from Kazan`s Ekiyat Theatre, which used impressive ice puppets to explore complex themes of memory, and the family-friendly “Mary Poppins” by the Ryazan Puppet Theatre, which gathered a significant family audience.
A particular highlight receiving significant attention was “Dear Mr. Smith” from St. Petersburg`s Theatre on Sadovaya, a musical directed by Alexei Frandetti. This production offered a fresh, inventive take on a classic “American Cinderella” narrative, featuring challenging music by Paul Gordon and creative, hand-drawn animation by Vyacheslav Okunev. It was met with considerable enthusiasm.
The Revelation of Khalkhin-Gol. Tangarit
However, perhaps the most unexpected and impactful performance was the dramatic production “Khalkhin-Gol. Tangarit” by the Khotsa Namsarayev Buryat National Theatre. Staged on the grand platform of the Ossetian National Theatre, this production tackled the historical theme of the 85th anniversary of the Battle of Khalkhin Gol in 1939 – a subject that could easily veer into excessive pathos.
Under the direction of Oleg Yumov, a graduate of GITIS and a student of Sergey Zhenovach, the production masterfully avoided a dry, documentary approach. Instead, it drew upon the raw, true story of sixteen Buryat cattlewomen living in Mongolia who, driven by a surge of patriotism, volunteered for the front lines but ended up serving in a field hospital. There, they performed grueling, unsung tasks, including carrying the wounded from the battlefield.
The play`s script, penned by Gennady Bashkuev based on a real interview with 103-year-old Chemed-Tseren, one of the surviving women, is described as deeply poignant and terrifying. It presents a stark human story of war, filled with dynamic plot twists, well-developed characters, and surprising directorial choices. The production doesn`t flinch from depicting the `dirt and blood` inherent in conflict, yet achieves an epic scope. The monologues delivered by the simple village girls towards the end were likened to those of ancient heroes. The narrative also skillfully weaves in a tender love story (between a young nurse and a Russian pilot) and, notably, critiques the ideological opportunism of careerists who exploited patriotism in the late 1930s – a relevant historical point often overlooked.
The authenticity extended to the performers, many of whom trained in prominent Moscow and St. Petersburg theatre schools. They took on the remarkable challenge of learning Mongolian, the language spoken by the Buryat women living in Mongolia in 1939. This was reportedly a non-trivial task, complicated by the numerous dialects within the wider Buryat linguistic landscape. The production`s subsequent tour to six cities in Mongolia reportedly astonished contemporary Mongolians, who saw their history recounted with such depth and truth by Russian-Buryat actors.
Chemed-Tseren herself, the 103-year-old veteran whose interview formed the play`s basis, appeared on screen in the production`s finale – a figure described with a noble profile, weathered by time, embodying the very essence of truth. This staged truth, the article notes, managed to avoid reliance on modern props or costumes, even employing animation that faithfully reproduced the aircraft designs of the era.
Festival`s Impact and Future
The success of the festival was undeniable. Kirill Krok confirmed its growing status, noting that the city`s mayor considered it the main event of the summer. The festival attracted theatregoers from various cities across Russia, including Moscow, Ufa, Nizhny Novgorod, Grozny, Stavropol, and Makhachkala, demonstrating the Vakhtangov Theatre`s significant draw and the audience`s trust. Krok expressed gratitude to all who assisted in organizing the festival, both locally and in Moscow, and, with a hint of professional resilience, also extended thanks to “those who hindered,” suggesting such obstacles only served to strengthen the resolve of the festival team.
The “Vakhtangov. Way Home” festival has clearly cemented its place as a vital cultural bridge between the renowned Moscow theatre and the historical homeland of its founder, Evgeny Vakhtangov, significantly enriching the cultural life of Vladikavkaz and beyond.
