Theater Plays

Krasnogorov’s plays have been performed in more than 400 theaters all over the wold and directed by many prominent theater directors. They are part of the permanent repertoire of many theaters, and several have been peformed hundreds of times, to rave reviews. The critical assessment that “Krasnogorov’s plays cross borders easily” is no empty praise: they have been translated into a number of other languages, and performed in Australia, Bulgaria, the Czech Republic, Cyprus, Estonia, Germany, Great Britain, India, Mongolia, Montenegro, Poland, Romania, Slovakia, Turkey, Ukraine, the USA, and elsewhere. Plays from the Krasnogorov catalogue have received numerous awards for best drama at various international theater festivals.

Krasnogorov’s theatrical mastery spans a wide range of unique talents and skills. It is the combination of biting satire, a keen sense of humor, the art of the grotesque and the absurd, tender lyricism, and a deep appreciation of human nature that makes Krasnogorov’s theater pieces so sought after, so delightful, so delectable. The conflicts in his plays are beautifully balanced out by their easy yet brilliant dialogue, lively dynamics, and gripping narratives. The author’s witty plots and paradoxical situations are quick to draw readers and audiences into the world created by his imagination.

In addition to drama, Valentin Krasnogorov has written novellas, short stories, and essays. His biography is included in the Marquis Who’s Who in the World (USA), the International Who’s Who of Intellectuals (Cambridge, England), and other publications.One Passion and Four Walls, Krasnogorov’s book on the essence of drama, has earned praise from notable figures in the theater. He is also the founder and first president of the Dramatists Guild of St. Petersburg.

Режиссер

A mysterious comedy in two acts

with no intermission

Translated from the Russian by Liv Bliss

Liv Bliss is a professional translator who resides in the United States and is certified by the American Translators Association for translation from Russian into English. She has a shelf-full of translated books, mostly fiction, and truly enjoys the challenge of academic translation and editing.

Synopsis

A unusual show goes into a mystifying, bizarrely amusing night rehearsal that ends with a twist. 2 men and 2 women. Interior.

CHARACTERS

DIRECTOR

CONSULTANT

MAN

WOMAN

The age of the characters is not critical. The men can be 40 to 60 years old; the women, 30 to 40.

An ordinary, unremarkable room. The actors are offstage as the play begins. After some time, a middle-aged man, the DIRECTOR, enters. He is accompanied by a beautiful, impeccably dressed woman, the CONSULTANT.

CONSULTANT: Here we are. After you.

DIRECTOR: Is this where we’re going to rehearse?

CONSULTANT: Yes. Do you have a problem with anything?

DIRECTOR: No. Why do you ask? What is this room?

CONSULTANT: A kind of recording studio. It’s nicely sound-proofed. If you close the door, no noises can get in or out. This is just what you need for your rehearsals. No one will bother you here. Do you like it?

DIRECTOR: (casually) It’s quite cozy. I don’t care, though. I can work in any conditions, even in a storm on the deck of a ship. But where are the so-called artistes? The rehearsal’s scheduled for ten p.m. sharp, and it’s already three minutes past.

CONSULTANT: They’ll be here soon.

DIRECTOR: (not pleased) What does that mean, “soon”? They should be here and ready at ten p.m. on the dot. My work doesn’t accommodate any deviations from the schedule. I’ll still have to pull an all-nighter after this rehearsal. And I have to have everything done by tomorrow at three p.m., come hell or high water. This isn’t some first-night premiere that can be postponed until whenever.

CONSULTANT: Take it easy, sit down. Would you like some coffee?

DIRECTOR: I’m not here for coffee, dearie, but to do my work. And who are you, by the way?

CONSULTANT: I’m a consultant.

DIRECTOR: I don’t need any consultants, sweet cheeks.

CONSULTANT: I’m not your consultant.

DIRECTOR: Then whose are you?

CONSULTANT: Not yours. I was sent to help you with the rehearsal.

DIRECTOR: Help me? I don’t need any assistants either. Do you know who I am?

CONSULTANT: You’re a renowned director. Everybody knows that. But surely you’re not going to pour your own coffee or find the right script pages? That’s why I’m here.

DIRECTOR: Well, if that’s why… I can’t stand having outsiders at my rehearsals.

CONSULTANT: Don’t worry. I’m only going to be your aide… or your associate director… I don’t know what the job’s called in the theater.

DIRECTOR: OK, stay. But don’t even think about tampering with my work. If you do, you’ll be out on your ear.

CONSULTANT: Very well.

DIRECTOR: If you’re somebody’s consultant, maybe you already know why this rehearsal – and, for that matter, all the work I’m doing – needs to be kept secret?

CONSULTANT: It must be because the client wants it that way.

DIRECTOR: A strange thing to want. Something’s wrong here.

CONSULTANT: Will you be paid for this project?

DIRECTOR: Sure.

CONSULTANT: Will they pay well?

DIRECTOR: Better than well. Anyway, that’s what they promised.

CONSULTANT: Then you should have no questions.

DIRECTOR: (paces the room impatiently) But where are those wretched artistes, damn them?

CONSULTANT: Why’re you going off on them all of a sudden? They’re respected people, eminent people…