The Enduring Magic of a Fomenko Production
It`s a rare feat in the ephemeral world of theatre for a production to thrive for two and a half decades. Yet, Fomenko`s “Family Happiness,” an adaptation of Leo Tolstoy`s novella – with a title perhaps just a touch less `Tolstoyan` than the original implies – stands as a vibrant testament to its creator`s genius. Premiering 25 years ago, the play has gracefully navigated time, retaining the delicate nuances and profound emotional states that were the hallmark of Pyotr Fomenko`s directorial style. It’s a remarkable preservation, ensuring the production never feels like a mere museum piece, but rather a living, breathing work of art.
The recent return to the stage in Blagoveshchensk prompted a natural comparison to the recent film adaptation of “Family Happiness,” directed by Stasya Tolstaya and starring Fomenko Workshop alumnus Evgeny Tsyganov. While the film offers a fresh perspective, theatre-goers at “Amur Autumn” could attest to the unique, immersive experience of the live performance. One local colleague described herself as “sipping tea with the actors, listening to their crisp sugar crackle, and contemplating whether jam or honey adorned their table.” This intimate observation underscores the subtle magic Fomenko wove into every scene, a magic that persists to this day.
The Architects of Longevity: Fomenko`s Dedicated Ensemble
The play`s longevity is inextricably linked to the unwavering dedication of its ensemble. Many of the original “Fomenkos,” as students of the master are affectionately known, continue to grace the stage. Ksenia Kutepova, as the spirited Masha, still embodies the character`s youthful exuberance with remarkable agility, her initial appearance evoking the airiness of Chekhov`s Ranevskaya. When playfully questioned about her seemingly impossible leaps over a stage trunk “at her age,” Kutepova`s response was a masterclass in witty elegance: shifting into a creaky voice, she quipped about the increasing difficulty with each passing year, suggesting the play itself might retire when she could no longer make the jump. It was a moment of humor that beautifully encapsulated the spirit of an actress deeply connected to her craft.
Joining her are talents like Galina Tyunina, who, for many years, has impeccably portrayed the governess Katya, inheriting the role from the esteemed Lyudmila Arinina. Kirill Pirogov, a “stranger” from the Shchukin Theatre Institute who nonetheless found his artistic home within Fomenko`s nascent company, steps into the role of one of the foreign suitors, a character originally played by Sergey Taramaev, and later by Andrey Shchennikov who has since become an archpriest. Ilya Lyubimov, another of Fomenko`s “fledglings” and the elder brother of the play`s current overseer, Oleg Lyubimov, also continues to perform, notably balancing his acting career with service as an altar server in a church – a testament to the diverse paths Fomenko’s students have taken.
These actors, nurtured by Fomenko himself, are not just performers; they are custodians of a unique theatrical heritage. Oleg Lyubimov notes that no new actors have been introduced into this specific production for 15 years, a clear indication of the ensemble`s commitment to maintaining the original vision.
Journeys and Jests: Anecdotes from the Road Less Traveled
The journey of Fomenko`s Workshop Theater has been rich with experience, including extensive international tours in its early days. Galina Tyunina vividly recalls the company`s “nomadic” years, traversing countless countries and spending months at a time in Europe. Pyotr Fomenko, with his characteristic irony, used to remark that these trips were perhaps more about leisure and museum visits than work, but the exposure undoubtedly shaped the young artists.
A particularly charming anecdote resurfaced from their tour of “Wolves and Sheep” to Beijing, a collaboration with Fomenko`s Chinese student, Ma Zhenhong. Tyunina recounts playing to “absolute silence,” an initial cause for concern that was later explained as profound contentment from the Chinese audience. Kirill Pirogov elaborated with a hint of dry wit: “Chinese audiences came expecting Ostrovsky, perhaps a story about Pavel Korchagin, and instead witnessed women drinking tea from saucers. They must have thought they`d entered the wrong door.” The performance, typically three and a half hours in Moscow, concluded in a brisk two hours and forty minutes in Beijing, leaving the actors with the distinct impression of having performed to an empty hall, a comical clash of cultural expectations.
Today, the Fomenko Workshop maintains its high standards, particularly when touring across Russia. “We take pride in having no `touring versions`,” Tyunina states, emphasizing that the complete, meticulously crafted production, down to the brand of the soundboard, travels with them.
The Philosophy of “Family Happiness”: A Continuing Dialogue
The play`s title itself invites reflection, a theme deeply explored by Tolstoy and masterfully interpreted by Fomenko. Ksenia Kutepova, reflecting on her own nearly thirty-year marriage, mirrors the open-ended nature of the play`s conclusion. “Fomenko left the ending open,” she notes. “It`s unclear what becomes of these people, whether they find family happiness or unhappiness. I leave the answer to your question open too.” She is, of course, absolutely correct; the recipe for family happiness remains unformulable.
Ilya Lyubimov, echoing Tolstoy, further elaborated on the complexity of human nature: “Leo Tolstoy himself said there is no strong or weak person. He compared a person to a river, sometimes turbulent and wide, sometimes calm. So a person is strong, weak, sensitive, insensitive at different times.” This profound understanding, Lyubimov explains, was at the core of Fomenko`s theatrical approach: his characters were never one-dimensional, but “voluminous, doubting,” painted not with a single stroke but with a rich palette of human experience.
Pyotr Fomenko`s Legacy: A Workshop That Never Closes
The Pyotr Fomenko Workshop Theater, officially founded on January 13, 1988, is more than just a company; it is a living legacy. The actors, who spent “25 years living alongside Pyotr Naumovich,” as Galina Tyunina puts it, are the embodiment of his vision. They are not merely performing a play; they are re-inhabiting a world their master created, carrying forward his restless spirit of perfection and his profound understanding of humanity. Even as time brings new film adaptations and new generations of theatre-goers, the original “Family Happiness” continues to bloom on stage, a beautiful, evolving testament to the enduring power of great art and the indelible mark of a true master.
