THE GATES OF KYIV at the Theatre Royal Windsor
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βMixing storytelling, music and dance in a unique and quite fascinating wayβ
Maria Yudina, a Soviet piano virtuoso, enjoyed notoriety as much as fame. Born in 1899 she grew up to be fiercely defiant of the repressive regime under Joseph Stalin β publicly denouncing him as well as demonstrating her faith in the Orthodox church. In Communist Russia that could have easily earned her a death sentence, yet somehow, she lived. There is one particular myth about this βholy foolβ that goes some way to explaining her ability to survive the scourge of Stalinism. Apparently, Stalin listened to the radio a lot, and on hearing Yudinaβs recital of Mozartβs Piano Concerto no. 23 one night in 1944, he called the station demanding a copy of the recording. The producers, afraid of the consequences of admitting that no recording took place, promised to deliver it the next morning. In panic they assembled an orchestra and called Yudina back to record it through the night. Legend has it that she slipped a note into the album sleeve stating that she would βpray for you day and night and ask the Lord to forgive your great sinsβ¦β All according to her lifelong friend, the composer Dmitri Shostakovich, whose fondness for imaginative tales adds to the fantasy of the folklore.
Although it often defines her, this late saga in her life forms little more than a footnote in Ian Kellyβs extraordinary βThe Gates of Kyivβ. Mixing storytelling, music and dance in a unique and quite fascinating way, Kelly casts a panoramic eye over the life of Yudina, focusing on her sometimes-fractious relationship with Shostakovich. Michael Praed is a commanding figure as the renowned composer while Stockard Channing wears the pianistβs brittle yet mutinous mantle. They narrate their story in retrospect, portraying them late in life, intermittently talking out to the audience and to each other, scaling the heights of harmony and discord in equal measure like frantic arpeggios on a grand piano. Yet itβs not just the black and white notes that are struck. There are many shades of grey within Kellyβs rich, rhythmic and expressive text. Sometimes the couple step out of time and there is an over reliance of the script in hand, but the performances are charismatic and the chemistry between them keeps our attention throughout. There are occasions when we feel we are about to step into a history lesson, but the natural delivery and flair keep us outside β on the fun side of the door. And we are also grateful to learn so much about Maria Yudina and her fascinating life.
Revolving within their tale is the star attraction. Gala Chistiakova is forever present at the glorious ebony Steinway that dominates centre stage. Yet somehow her beautiful, passionate and evocative playing does not dominate the narrative. It weaves, underscores, illustrates and accentuates the subject before crashing over us in waves of passion at the climax of each act. Chistiakova covers much of Yudinaβs repertoire, taking in the greats including Bach, Mozart, Rachmaninov, Stravinsky, Prokofiev, Tchaikovsky, Pasternak, Mussorgsky; and Shostakovich of course.
Complementing it all is dancer Xander Parish who moves in time with balletic musicality, adding further layers to the already rich tapestry, although occasionally the visual bonus is an extra flavour with faint hints of indulgence. The music more often says it all. It leads us on the journey, right up to the last number that gives us the title of the piece. Mussorgskyβs βThe Great Gate of Kyivβ from his 1874 piano suite βPictures at an Exhibitionβ. A stirring finale, and symbolic in many ways. Originally built in the eleventh century, the Great Gate of Kyiv served as a triumphal arch β a prominent symbol of the Ukraine capital. At one time a monument to Tsarist rule in Ukraine it can now symbolise Kyivβs defiance against Russian invasion. A defiance that Maria Yudina shared, and which is wonderfully illustrated in this unique tribute. The music is the most defiant of all, and no matter what troubles may surround us, its power and its beauty will always survive. We donβt necessarily need a reminder of the reality, but this show reinforces it. Classical and classy β it is a triumph in itself.
THE GATES OF KYIV at the Theatre Royal Windsor
Reviewed on 4th September 2024
by Jonathan Evans
Photography by Jack Merriman
Previously reviewed at this venue:
ACCOLADE | β β β Β½ | June 2024
OH WHAT A LOVELY WAR | β β β β | April 2024
CLOSURE | β β β β | February 2024
THE GREAT GATSBY | β β β | February 2024
ALONE TOGETHER | β β β β | August 2023
THE GATES OF KYIV
THE GATES OF KYIV
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