One wedding, two divorces

Bashkir classic

Nail Gaitbaev is a mining mechanical engineer by profession. At the age of 35, he graduated from the Higher Literary Courses at the USSR Writers' Union, then studied at the Higher Theater Courses at GITIS. In the 1990s, he worked as the First Deputy Minister of Culture of the Republic of Bashkortostan, organising events and opening various institutions, from the Philharmonic society to the lyceum. He also directed the Tamasha magazine for 16 years, the National Literary Museum of Bashkortostan for seven years, and the local Writers' Union for two years. His plays are actively staged both in his homeland and in Tatarstan, because he writes for the audience, understandable and accessible. In Tinchurin Theatre, for example, his comedy Әстәгъфирулла! was staged. And two years ago, he published the novel “Babich” about the difficult fate of the Tatar-Bashkir poet and politician.

A new play at the Tinchurinsky Simpler. There are two families. The quiet Halima (Lilia Makhmutova) and the boss Kamil (Renat Shamsutdinov) with their son Aynur (Ilfak Hafizov/Eduard Nikitin). And frisky Aisylu (Zulfiya Valeeva/Sakina Minhanova) with newly appointed Lieutenant Colonel Khamit (Haris Husnutdinov) and daughter Rushania (Lilia Kamalieva/Zarina Safina). And an equally fiery couple is Ainur's aunt Gulbika (Gulnaz Naumetova) and her husband Gilfan (Ramil Minkhanov/Salavat Khabibullin).

The adults get divorced, and meanwhile Aisylu convinces everyone that Aynur and Rushania are getting married, even though the classmates don't even communicate with each other. Well, once they slept on the same bed at a campsite, but there were still half a group there! As an argument, Rushaniya tucks a pillow under her dress and pretends to be five months pregnant.

Sad trombone

The fifth premiere of this season is being staged by Zufar Kharisov, who has been playing in the theatre since 1981. He and the artist Lydia Osprey are responsible for the set design — these are four mobile structures depicting two houses. Composer Ilyas Kamal wrote several songs based on poems by Ilfak Hafizov.

The main leitmotif in the performance is a sad trombone, which deliberately emphasises key points paired with lighting effects. In a verbose play, the characters talk through all their problems several times, it seems that if one looks through it with the editor, 40 minutes will remain out of two hours.

On the other hand, these repetitions at least somehow streamline the action on the stage, where the actors constantly step on each other's lines.

Of course, each character has either a signature catchphrase or a consistently unchanging manner of speech. This is further emphasised by mostly monochrome costumes. Aisylu is dressed in red. The daughter wears light green, subtly aligning her with her father’s military uniform. Perhaps the only one who tries to step beyond the confines of cliché is Eduard Nikitin, performing at the press screening. It is likely no coincidence that laughter begins to ripple through the audience half an hour into the play, following his arrival.

Write telegrams

So why did Aisylu decide to bring the young couple together? Because, in her view, those who meet online end up divorcing, while couples arranged by their parents in the past lived in perfect harmony. Besides, Ainuр, a talented IT specialist, has secured a $300,000 grant — from a certain Ministry of Computer Technologies. Provided he moves to Moscow.

All of this unfolds in our modern world. Where Aisylu, remarkably, sends forged TELEGRAMS on behalf of her son. Meanwhile, mobile phones are constantly ringing in the hands of every character.

This is the main storyline — subtle and hardly essential. Meanwhile, the characters quarrel over the most trivial matters. Khamit needs to attend his boss’s anniversary celebration, but his wife can’t make it. Gilfan dreams of composing music and hides in a relative’s wardrobe, which makes Kamil jealous. At the district House of Culture (referred to as “RDK” throughout the play), pipes have burst, threatening an amateur production — presumably the very one being performed before us by seasoned actors.

All these situations are repeated multiple times, and the characters’ behaviour is explicitly stated to ensure the audience remembers exactly why they argue and fume. At some point, under the director’s guidance, Gilfan mysteriously begins to preach about Tatar music and insists that under no circumstances should a young Tatar man be allowed to leave for Moscow. The added seriousness only makes things worse.

In the end, our young hero promises to become both a scientist and an artist — after graduating from the conservatory, no less. As per tradition, all conflicts are miraculously resolved in the final minutes of the play without any real justification. And the conclusion is neatly foreshadowed halfway through the performance by Kamil, who exclaims in frustration: “Who even needs this theatre!”

Interestingly, this is the only new comedy in the theatre’s repertoire this season. The Tinchurin Theatre has staged the tragedy Takhir-Zukhra, the dramas One Step to a Dream and Glory to the Warriors of the Fatherland!. But does it really need a new comedy — one that exudes not joy and satire, but tension and coldness?