Dmitry Krymov's 'Bloody Mary' Explores Theater's Nature at Gesher
Translated & summarized from Vesty by baba
Dmitry Krymov's "Bloody Mary" at Israel's Gesher Theater is a meta-theatrical production blending "Mary Stuart" with surreal imagery and personal drama. The play explores the nature of theater through the conflicts of its lead actresses, showcasing Krymov's experimental style and Gesher's evolving artistic direction.
The story in 5 lines · by baba
- Dmitry Krymov's "Bloody Mary" at Gesher Theater is a meta-theatrical work.
- The play uses "Mary Stuart" as a backdrop for actress conflicts.
- Surreal imagery and absurdist elements are key features.
- It reflects Gesher Theater's experimental and evolving artistic direction.
- Krymov is known for his genre-bending directorial style.
Dmitry Krymov's new production, "Bloody Mary," at the Gesher Theater in Israel, is described as a "Krymov on steroids" exploration of theater itself, blending Schiller's "Mary Stuart" with meta-theatrical elements. The play's premise involves two actresses, played by Evgenia Dodina and Sasha Demidov, preparing for a production of "Mary Stuart." Their personal conflicts and biographical details intertwine with the classic text, creating a "theater within a theater" experience.
The production draws parallels to other recent plays, including a "Mary Stuart" at the Habima National Theater where actresses flipped a coin to decide roles, and a Chamber Theater production of "The Rivals" set backstage. Krymov's "Bloody Mary" is noted for its surreal imagery, such as a diver in a water-filled suit, a girl with a fork in her forehead, and a boy with a severed head, all presented in a "phantasmagoric trauma center."
Krymov, a renowned Russian director with a background as a set designer and painter, is known for his unique, genre-bending approach. "Bloody Mary" is characterized by its metaphorical richness, born from the interaction of actors with various materials. This production marks a departure for Gesher Theater, showcasing its openness to experimentation and risk-taking, while still honoring the 35-year tradition established by its founder, Yevgeny Arye.
The play's unconventional structure and absurdist elements are expected to surprise audiences seeking a traditional adaptation of "Mary Stuart." Krymov masterfully controls the level of absurdity, escalating it in the final scenes. The review suggests "Bloody Mary" is a quintessential example of Krymov's distinctive directorial style, making it a significant offering in Gesher's anniversary season.