Cat on a Hot Tin Roof
Duration: Three hours with two intermissions
The premiere took place in 18 October 2019.
Translated by V. Voronin
“This is a play about love and being honest with oneself, and about the fact that honesty begins with being honest with yourself, then with others, and that sometimes it seems like death — so great is the unwillingness of people to face it. But if too many lies build up in a certain situation - in this case, a family – everything starts to rot, diseases and other ugly manifestations burst out. Colossal courage is needed o deal with this - this is an operation on live material.” (Director Polina Fractall).
“The scenographic solution refers to the Hollywood feeling to this play which is known worldwide, and is a play upon that. We have two spaces: a pavilion in which a film, Cat on a Hot Tin Roof, is being shot, and an area outside the pavilion, where the actors, either coming out of character or not, exist in front of the audience.
I was interested in the fact that play offers not only the love story of a man and a woman, but also a cross connection: daughter-in-law and father-in-law, father, son, and another daughter-in-law. I searched in each character for the image of how they would look together - not only in pairs, but also with each other, because against the backdrop of crisis, a lot of internal relationships, feelings and stories are revealed.” (Designer Varvara Timofeeva).
Fractall graduated from the Department of Cinema and Television of the Moscow Academy of Education (studio of Boris Grigoryev and Yury Kara). In 2015, she graduated from Boris Yukhananov's Studio of Individual Directing (MIR-4). She is the author of the short films: A Trilogy about..., The Long Walk to Eternity, Three Proud Firs, Bububu! (participant of the Cine Fantom club program at the Moscow International Film Festival-2013), and There Is no Way Back. At the Stanislavsky Electrotheatre she has staged The Mark on the Wall after a story by Virginia Woolf (Small stage). Cat on a Hot Tin Roof is her second directorial work at the theatre.
Timofeeva graduated from the Department of Arts at St. Petersburg State University with a degree in design, and from the British High School of Design with a degree in Theatre Design.
She created the scenery and costumes for numerous productions: Iolanta (Bolshoi Theatre, Pokrovsky Chamber Stage, 2019), Culmination (Praktika Theater, 2018, Moscow Art Theater School, 2019), Outside a Neutrino (New stage of the Alexandrinsky Theatre, 2018), Mark on the Wall (Stanislavsky Electrotheatre, 2017), Forgotten Fairy Tales (Khitrovka Cultural Center, 2016), and others. She has created corporate styles for the 12th and 13th Territory festival, the 20th OPEN LOOK international festival of contemporary dance, and the Culmination award. She ran an intensive course in scenography at the FEFU Digital Art program (Vladivostok, 2018).
Sofronov is a composer and musicologist. He is a Senior Lecturer at the Moscow State Conservatory, and a researcher at the Scientific and Creative Center for Contemporary Music at the Moscow Conservatory. He graduated from the Moscow Conservatory (class of Roman Ledenyov). He was trained as a musicologist at the University of Vienna.
At the Stanislavsky Electrotheatre he has performed in The Blue Bird and Drillalians; and was a composer for Orphic Games. Punk Macrame (directed by Boris Yukhananov, 2018);
A Boring Story (director Vasily Skvortsov, 2017); The Golden Ass. The Open-circuited Work Space (directed by Yukhananov, 2015); and The Constant Principle. Part II (directed by Yukhananov, 2015).
Kovalchuk is a theatre and film director who has worked on film and television projects. He graduated from Boris Yukhananov's Studio of Individual Directing.
Director of the film Vladimir the Great, and the theatre project Electrocabaret. An Experiment in Time Travel. Vertinsky and Others.
At the Stanislavsky Electrotheatre he designed the lighting for Idiotology (directed by Klim Kozinsky, 2016).