Dmitry Krymov's 'Bloody Mary' Explores Theater's Nature at Gesher
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.
