LONDON — Russian theater comes comparatively rarely to London, and even less frequently with a play from beyond a circumscribed canon. It was a great pleasure, therefore, to witness the outstanding reappraisal of Brecht’s “The Good Person of Szechwan” with which the Moscow Pushkin Drama Theater visited the Barbican in London for three performances this month.
The company’s weeklong residency in London — its first outside Russia with this repertoire — included a Chekhov title (a willfully uninvolving version of “The Cherry Orchard”) that might be anticipated from a Russian troupe. But the director Vladimir Mirzoev’s samovar-free account of that early 1900s chronicle of social and political upheaval settles for eccentricity at the expense of emotional resonance: The characters often move as one, as if under some sort of collective spell, and when they do assert their individuality, it’s to limited effect.
The magic-loving governess, Charlotta (Vera Voronkova), is played, for instance, as a deliberate grotesque, whereas the feckless Madame Ranevskaya (Victoria Isakova), normally considered one of the premier roles for an actress, barely registers in a production that makes much more of the mercenary (and, in this iteration, sex-mad) Lopakhin, played here by Alexander Petrov. (A program note rather puzzlingly referred to the Ranevskaya role as having been taken by, among others, Jessica Lange and Meryl Streep, neither of whom seem to have ever played it — though Ms. Streep did appear as the giddy maid, Dunyasha, in a 1977 production of “The Cherry Orchard” at Lincoln Center in New York.)
But the Pushkin actors emerge in fighting form for the troupe’s presentation of “The Good Person of Szechwan,” a tricky work first performed in 1943 that often lands with a thud these days. Under the direction of Yury Butusov in a staging that runs well in excess of three hours, the production never for a minute flags. (Both plays return to the Pushkin’s repertory in Moscow in late March, and there are hopes for further international touring dates.) An extended parable about the plight of goodness in a landscape marked out by malignancy, “Good Person” retains its musical component (the songs are delivered in the original German to Paul Dessau’s score) while articulating the bruising import of a world that rewards wickedness and that requires the good Shen Te of the title (Alexandra Ursulyak) to devise a tough-minded alter ego, a male cousin who goes by the name of Shui Ta.
Unfolding on a detritus-filled set that is cleared away in time for the arrival of Champagne bottles from which pour cascades of sand, this riveting “Good Person” reached London thanks in large part to the beneficence of Roman Abramovich, the Russian-born billionaire who saw a performance in Moscow and set about bringing the company to the West. There’s an irony somewhere in such a wealthy man enabling a London run for a play steeped in miserliness and impoverishment. Life and art, not for the first time, have made for intriguing bedfellows.
Still on view in London is a comprehensive season of one-act plays by Harold Pinter that is entering the final stretch with two knockout productions, “A Slight Ache” and “The Dumb Waiter,” on a single bill at (where else?) the Harold Pinter Theater through Feb. 23. Dating from the 1950s, the plays have been expertly served by the curator of this ambitious venture, Jamie Lloyd, who will next turn his attention to a revival of Pinter’s often-performed 1978 drama, “Betrayal,” the story of a triangular liaison, starring Tom Hiddleston. “Betrayal” opens March 13 at the Pinter Theater.
Neatly matched in their mixture of humor and terror, “A Slight Ache” — a little-known title written originally for radio — and “The Dumb Waiter,” a classic two-hander about a pair of hit men biding their time in the bowels of a Birmingham house while they await orders to carry out a contract killing, make for a provocative combination. In “The Dumb Waiter,” Pinter mines abundant comedy from the absurd exhortation to “light the kettle” while accenting the gathering dread as the two men, Ben (Danny Dyer) and Gus (Martin Freeman), interact increasingly testily with each other and with the dumb waiter that gives this comedy of menace its title.
A seam of hilarity derives from the menus read aloud every time the dumb waiter snaps open, and Mr. Freeman in particular has a field day bleating the word “scampi,” as if the crustacean itself contained some unnameable horror. Mr. Dyer, in turn, is nowhere more commanding than when snapping his newspaper like some sort of weapon in waiting. Mr. Lloyd and his fine cast make all too palpable the presence of the unseen Wilson, the enigmatic figure responsible for the messages hurtling Ben and Gus’s way who functions as this play’s Godot — Pinter here, as so often, owing a debt to Samuel Beckett.
“A Slight Ache” precedes “The Dumb Waiter” and posits its own man of mystery in the never-seen Barnabas, an aging match seller who nonetheless comes to impinge mightily on the frayed marriage of the crisply accented Edward (the excellent John Heffernan, careering from heartiness to hysteria) and the genteel — or maybe not — Flora (Gemma Whelan). Her character is sensibly named in light of the couple’s frequent chats about plant life (honeysuckle, for starters), which by the play’s conclusion make the very mention of clematis resound with erotic longing.
Mr. Lloyd stages the play true to its radio origins in 1959: Both actors appear at first to be in a recording studio, and it is only as the sense of decorum disintegrates that the performers burst their artificial confines to suggest an emotional terrain that cannot be confined. The “slight ache” of the title refers to the feeling in Edward’s eyes from not having slept, and it sets an apposite tone for a haunting double bill that caps an unforgettable six-month immersion in a playwright whose impact very much lives on.B:
2015白小姐半句玄机料【卫】【邢】【是】【卫】【氏】【集】【团】【总】【裁】，【出】【了】【这】【样】【的】【事】，【集】【团】【内】【部】【大】【动】【荡】。 【不】【管】【是】【公】【司】【还】【是】【个】【人】【事】【宜】，【很】【多】【东】【西】【都】【要】【处】【理】，【卫】【槿】【一】【直】【在】【忙】，【卫】【敖】【也】【在】【忙】【碌】。 【曾】【心】【到】【卫】【家】【时】，【只】【有】【卫】【奶】【奶】【跟】【郑】【涵】【湘】【在】。 【偌】【大】【的】【宅】【子】【笼】【罩】【着】【一】【层】【浓】【烈】【的】【哀】【伤】。 【曾】【心】【进】【到】【大】【厅】【郑】【涵】【湘】【接】【待】【了】【她】，【告】【诉】【她】【奶】【奶】【在】【房】【间】【里】，【从】【听】【到】【卫】【邢】【出】【事】【的】【消】【息】，
【林】【公】【权】【知】【道】【亲】【家】【的】【情】【况】，【两】【个】【女】【儿】，【两】【个】【儿】【子】，【儿】【子】【看】【着】【就】【是】【有】【出】【息】，【不】【像】【他】，【虽】【当】【了】【一】【辈】【子】【大】【队】【长】，【家】【里】【儿】【子】【都】【不】【成】【样】【子】。【小】【儿】【子】【林】【大】【洋】【虽】【比】【别】【人】【精】【明】，【就】【是】【个】【会】【算】【计】【自】【家】【人】【的】【货】【色】。“【我】【给】【你】【二】【叔】【说】【好】【了】【那】【家】【子】【还】【成】，【要】【不】【要】【你】【就】【同】【他】【们】【并】【对】【船】【好】【了】。” 【林】【校】【这】【就】【点】【迟】【疑】【了】，“【阿】【公】，【二】【叔】【他】……”【她】【没】【说】【出】【来】2015白小姐半句玄机料【夏】【宜】【修】【和】【津】【上】【翔】【一】【对】【暗】【之】【力】【的】【围】【攻】【不】【仅】【没】【有】【取】【得】【胜】【利】，【反】【倒】【是】【被】【它】【击】【退】。 【只】【是】，【随】【着】【风】【之】【天】【使】【与】【地】【之】【天】【使】【被】【击】【毙】，【暗】【之】【力】【的】【所】【有】【羽】【翼】【皆】【被】【折】【断】，【它】【也】【完】【完】【全】【全】【陷】【入】【了】【假】【面】【骑】【士】【的】【包】【围】【中】。 【被】【包】【围】【的】【暗】【之】【力】【扫】【视】【了】【一】【遍】AGITO【和】【假】【面】【骑】【士】【们】。 “AGITO【和】【人】【类】【都】【要】【消】【灭】！”【暗】【之】【力】【少】【有】【的】，【歇】【斯】【底】【里】
【老】【族】【长】【此】【刻】【的】【表】【情】，【可】【以】【说】【是】【愣】【愣】【的】。 【这】【没】【办】【法】【啊】。 【实】【在】【是】【孔】【羽】【话】【中】【的】【内】【容】，【实】【在】【是】【让】【老】【族】【长】【太】【过】【震】【撼】【了】。 “【没】【错】。”【孔】【羽】【点】【头】【道】。 “【孔】【羽】，【你】【不】【会】【是】【被】【骗】【了】【吧】？【那】【可】【是】【天】【道】【审】【判】【啊】。” 【老】【族】【长】【喃】【喃】【说】【道】：“【而】【且】【这】【还】【是】【大】【千】【世】【界】【的】【天】【道】【审】【判】，【除】【非】【拥】【有】【和】【天】【道】【对】【等】【的】【力】【量】，【否】【则】【谁】【能】【解】【除】？”
【穿】【过】【一】【条】【黑】【雾】【弥】【漫】【的】【峡】【谷】，【就】【到】【了】【九】【真】【国】。 【这】【个】【国】【家】，【原】【本】【是】【这】【一】【带】【最】【富】【裕】【繁】【华】【的】【诸】【侯】【国】，【自】【从】【通】【天】【桃】【木】【被】【天】【雷】【劈】【碎】，【地】【府】【门】【户】【的】【封】【印】【打】【开】【后】，【就】【成】【了】【人】【间】【地】【狱】。 【很】【久】【前】，【通】【天】【桃】【木】【不】【但】【能】【阻】【挡】【洪】【荒】【异】【兽】【攻】【击】，【还】【会】【在】【每】【年】【秋】【季】，【落】【下】【一】【些】【桃】【子】，【给】【诸】【侯】【国】【的】【人】【食】【用】。【这】【桃】【子】【对】【于】【成】【年】【人】【没】【多】【少】【效】【用】，【但】【对】【刚】【出】
【江】【西】【九】【江】【府】，【逍】【遥】【山】【庄】【内】！ 【鬼】【狐】【子】【一】【脸】【阴】【沉】【的】【坐】【在】【大】【殿】【上】【座】，【两】【侧】【的】【树】【煞】、【夜】【叉】、【痴】【恶】【三】【个】【护】【法】【也】【同】【样】【是】【面】【色】【严】【峻】、【一】【声】【不】【吭】。 “【消】【息】【可】【靠】【吗】？”【鬼】【狐】【子】【冷】【冷】【的】【朝】【着】【大】【殿】【中】【央】【的】【一】【个】【黑】【衣】【人】【问】【道】。 “【回】【禀】【掌】【门】，【消】【息】【千】【真】【万】【确】。【我】【鬼】【狐】【门】【派】【去】【湖】【广】【的】【杀】【手】【不】【是】【死】【在】【了】【三】【道】【宗】【的】【手】【下】【就】【是】【消】【失】【的】【无】【影】【无】【踪】，【就】