Theater in NYC: Pushkin “Eugene Onegin” by Krymov Lab

Theater in NYC: Pushkin “Eugene Onegin” In Our Own Words by Krymov Lab

Limited encore engagement on January 10 – 28, 2024 at BRIC House in Brooklyn, NY

A scene from Pushkin "Eugene Onegin" by Krymov Lab / Photo Credit: Bronwen Sharp
A scene from Pushkin “Eugene Onegin” by Krymov Lab / Photo Credit: Bronwen Sharp

Krymov Lab NYC is pleased to announce a limited encore presentation of the celebrated interpretation of Pushkin’s Eugene Onegin, from Russian director Dmitry Krymov, “one of the world’s finest theater-makers” (The New York Times), currently residing and creating in exile in New York. Since founding his NYC-based studio in 2022, Krymov’s company has already won significant acclaim from The New York Times, The New Yorker and New York Magazine, selling out a much in-demand 2023 run of his adaptation of Eugene Onegin at La MaMa Theater. Now, PushkinEUGENE ONEGIN’ In Our Own Words returns from Wednesday, January 10 and continuing through Sunday, January 28 for a limited encore engagement presented in partnership with Under the Radar; Mark Russell, Festival Director & ArKtype, Festival Producer at BRIC (57 Rockwell Pl, Brooklyn, NY 11217). Tickets start at $52 and are available at https://www.universe.com/events/under-the-radar-presents-pushkins-eugene-onegin-in-our-own-words-tickets-CB1YMZ

Pushkin "Eugene Onegin" by Krymov Lab / Photo credit: Bronwen Sharp
Pushkin “Eugene Onegin” by Krymov Lab / Photo credit: Bronwen Sharp

PushkinEUGENE ONEGIN’ In Our Own Words is a simultaneously raucous and sobering journey through the past and future of a major cultural touchstone. In Krymov Lab NYC’s production, four immigrant Russians desperately try to communicate the value of an untranslatable classic to a New York audience. Why should we be made to care about the trials of a shallow Byronic hero, a too-deep teenage girl, and a less-than-successful birthday party? In the face of wartime atrocity, is there still a place in today’s world for Dostoevsky, for Tchaikovsky, for Pushkin? Can beauty and intellect survive such horrors? And should it?

Reimagined in 2024 as a new, citywide annual festival of theater and performance emerging from New York and around the world, this iteration of Under the Radaris curated in collaboration with an array of New York arts organizations and curators, rather than being tied to a single host institution. Each harnesses the community-building, connective, celebratory nature of the festival format to introduce some of today’s most innovative voices to wider audiences. The festival sets an example of how ​​collaboration can get the American theater through this moment of existential crisis: reinvigorated and ready to create a theater that can embrace diversity, risk, and reinvention.

The production stars Natalie Battistone (ART’s world premiere of O.P.C. by V (formerly Eve Ensler)), Kwesiu Jones (MTA Radio Plays (Rattlestick Playwrights Theater)), Jeremy Radin (TV: It’s Always Sunny in Philadelphia, CSI, Criminal Minds), Jackson Scott (Spanish punk band Mano de Dios), Elizabeth Stahlmann (Tectonic Theater Project’s world premiere of Here There Are Blueberries at La Jolla Playhouse, directed by Moisés Kaufman), and Anya Zicer(Bad Roads by Natalka Vorozhbyt at LaMaMa Experimental Theatre).

PushkinEUGENE ONEGIN’ In Our Own Words plays on the follow days from January 10 through Sunday, January 28:
​ ​ ​ Tuesdays @ 7:30 pm
​ ​ ​ Wednesdays @ 7:30 pm
​ ​ ​ Thursdays @ 7:30 pm
​ ​ ​ Fridays @ 7:30 pm
​ ​ ​ Saturdays @ 2 pm and 7:30 pm
​ ​ ​ Sundays @ 3 pm and an additional performance on 1/21 at 7:30 pm

Running Time: 90 minutes

Dates: January 10 – 28, 2024

Venue: BRIC, 57 Rockwell Pl, Brooklyn, NY 11217

Tickets: https://www.universe.com/events/under-the-radar-presents-pushkins-eugene-onegin-in-our-own-words-tickets-CB1YMZ

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Opera in NYC: The Queen of Spades at The MetOpera

Opera in NYC: The Queen of Spades at The MetOpera

Pyotr Ilyich Tchaikovsky’s opera about the vices of gambling and greed is performed at The MetOpera by the impressive international cast

Larissa Diadkova as the Countess, Lise Davidsen as Lisa, Yusif Eyvazov as Hermann, and Igor Golovatenko as Prince Yeletsky in Tchaikovsky's "The Queen of Spades" at the MetOpera
Larissa Diadkova as the Countess, Lise Davidsen as Lisa, Yusif Eyvazov as Hermann, and Igor Golovatenko as Prince Yeletsky in Tchaikovsky’s “The Queen of Spades.” Photo: Ken Howard / Met Opera

Mysterious and alluring, the Imperial Russia of Catherine the Great’s time takes the stage of the Met Opera this December. The critics call The Quees of Spades, a masterpiece created by Pyotr Tchaikovsky, the highlight of the season so far. The splendid and imperially rich set and costume design by Mark Thompson recreates the times of extreme fashion, endless balls, and futile gambling and drinking nights. Premiered in 1995, Elijah Moshinsky’s production of The Queen of Spades is also memorable to the opera fans for Dmitriy Hvorostovky’s debut at the Met Opera.

This year’s production features a superb cast of international stars with a radiant soprano Lise Davidsen as Lisa, an expressive tenor Yusif Eyoavazov as Hermann, impeccable baritones Igor Golovanenko and Aleksey Markov as  Tomsk and Yeletsky, and a moody mezzo-soprano Larisa Diadkova as the countess. The conductor Vasily Petrenko makes his debut on the Met stage and takes full control of the splendid music score, leading the musicians in perfect alignment with the singing and acting.

Alexey Markov as Count Tomsky in Tchaikovsky's "The Queen of Spades."
Alexey Markov as Count Tomsky in Tchaikovsky’s “The Queen of Spades.” Photo: Ken Howard / Met Opera

Davidsen’s stormy entry into the opera world can only be fully appreciated when her powerful performance is observed on stage. With an understatement so suitable for Lisa, a young Russian lady of modest means, Davidsen uses her vocal strength to deliver the angst and desperation because of her lover’s betrayal in the name of material possessions. The colorful and exquisitely designed chorus scenes contrast with the gloomy mood and greedy aspirations of the high society. But the gorgeous music and the impressive signing save the day to the elation of the audience.

The opera is sung in Russian with subtitles; run time 3 hours and 35 minutes with one intermission. Performances are from December 5 – 21, 2019. 

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