DOCTOR FAUST
Based on the play “The Tragic History of the Life and Death of Doctor Faustus” by Christopher Marlowe and texts written by the director, the dramaturge and the actors.

Directed by Andras Urban
Dramaturge: Biljana Krajchevska
Scenography by: Valentin Svetozarev
Costume design by: Blagoj Micevski

Roles:
Sonja Mihajlova
Sonja Оshavkova
Viktorija Stepanovska-Jankulovska
Ilina Chorevska
Maja Andonovska – Ilievska
Elana Moshe
Sandra Gribovska
Ivan Jerchik
Marjan Gjorgjievski
Borce Gjakovski
Nikola Projchevski
Petar Spirovski

Stage manager: Mitko Ivanovski
Photo: Petar Tasevski

Premiere: 15 & 16 december 2016

BAR REMARK

Fantasy based on the novel “Three Comrades” and the letters of E.M.Remarque

Adapted and directed by Alexander Bargman
Consultations on the text: Darya Golubeva
Translated from Russian: Olivera Pavlovic
Scenography by: Valentin Svetozarev
Costume Design by: Blagoj Micevski
Music: Marjan Necak
Tone: Nikolce Terzievski
Light: Ilija Dimovski
Dramaturge: Olivera Pavlovikj
Piano: Jana Cheteleva Belevska

Roles:
Robert Lokamp – Ognen Drangovski
Gottfried Lenz – Nikola Projchevski
Otto Kester – Martin Mirchevski
Patricia Holman – Katerina Anevska
Professor Zhafe / Valentin Gauzer Boris Corevski
Alphonse / Pastrorot – Peter Mirchevski
Matilda Stos – Juliana Stefanovska
Hasse – Borce Gjakovski
Frau Hasse / Frau Blumenthal – Ilina Corevska
Binding / Blumenthal – Philip Mirchevski
Frau Zalewski – Elena Mose
Erna Benning – Maja Andonovska
Georg Block – Aleksandar Stefanovski
The lady from the bar / nurse: Kristina Nikolova Hristova
He from the bar – Alexander Kopanja

Stage manager: Miroslav Lazarevski
Prompter: Zorka Gjakovska
Assistant director and translator Dimitar Markov

Premiere: 08.03.2016 yr., Ohrid Summer

The play Bar Remarque has been inspired by the cult novel Three Comrades by Erich Maria Remarque – one of the most influential novels of the European existentialism between the two world wars, but depicts neither the war nor the politics from that period.

The core of our excellent dramatization in which crucial existential questions are posed, lies in the love story of two young people who through out their ten months’ acquaintance, try to reach the happiness in life. They lure other characters in that love game – the guests of one unusual bar, dreamers and inventors of unbelievable life stories – trying to overcome the monotony and the hopelessness of everyday living, they are capable of playing around with the extravaganza and the downfalls in life.

The extraordinary and experienced director Alexander Bargman offers one clear aesthetic concept, giving the actors freedom in imagination and improvisation in their play, thus creating one immense pleasure for themselves and for the audience, as well.

Olivera Pavlovikj

Hand Fan – A Tragic Love of a Girl

Author: Yukio Mishima
Directed by: Blagoj Micevski
Translated from Russian: Olivera Pavlovik
Scenography by: Valentin Svetozarev
Costume design by: Blagoj Micevski
Music by: Aleksandar Dimovski
Lighting by: Ilija Dimovski

Roles:

Kanako – Nikola Projchevski
Yucuko- Valentina Gramosli
Yoshio – Marjan Gjorgjievski
Madam – Sonja Mihajlova

Choreography: Jagoda Dimovska
Photography: Dimitar Kolondzovski
Stage manager: Mitko Ivanov

There are texts written by the actors and a sonnet by W. Shakespeare used in the play.

“Tragic love of a crazy girl”

An old-fashioned romance at the railway station…no matter whether it rains or swelters, one young lunatic girl who is extraordinary beautiful, always sits in the waiting-room. Holding a fan in her hands, she sits on the bench and with a certain strain stares at the faces of each and every passer-by in the station. We may ask why? Just like that. Overwhelmed with disappointment every single time and she returns to her bench. She gave an answer to our correspondent that the fan is allegedly from Kandio. Rather from a man she has previously met with at that particular place.

Crime and Punishment

Fyodor Mikhailovich Dostoyevsky

Directed and adapted by: Diego de Brea
Translation from Slovenian: Sonja Dovzhal
Scenography and lighting by: Diego de Brea
Costume design by: Blagoj Micevski

Roles:
Rodion Romanovich Raskolnikov: Ognen Drangovski
Sofya Semyonova Marmeladova – Sonya, Avdotya Romanova Raskolnikova – Dunya: Marija Stefanovska
Pulkheria Aleksandrovna, Raskolnikova Nastasya: Katerina Anevska
Alyona Ivanovna: Valentine Gramosly
Porfiriy Petrovich: Marjan Gjorgjievski
Aleksandar /grigorievich Zamyotov, Pyotor Petrovich Luzhyn, Koch: Ivan Jerchik
Semyon Zakharovich Marmeladov, Arkadiy Ivanovich Svidrigaylov: Aleksandar Stefanovski
Dmitriy Prokofyich Pestryakov: Nikola Projchevski
Music associate: Aleksandar Dimovski
Video materials recorded by: Dimitar Kolondzivski
Lighting by: Igor Micevski
Video operator: Antonio Bozhinovski
Prompter: Radojka Dimeska
Stage manager: Mitko Ivanovski
Technical director: Petar Trajchevski

Premiere: 28th May 2016

Sonnets – Director Jovan Ristovski

Based on William Shakespeare’s Sonnets

Directed by: Jovan Ristovski
Dramaturge: Biljana Krajchevska
Costume design by: Blagoj Micevski
Music selection: Jovan Ristovski-Jovica
Sound by: Aleksandar Dimovski
Lighting by: Ilija Dimovski, Igor Micevski

Roles:
The Wiches – Julijana Mirchevsk – The Crazy
Ilina Chorevska/Cika Pikas
Elana Moshe/Cika Pkas
Aleksandar Kopanja/The Crybaby
Viktorija Stepanovska-Jankulovska/Goo-Goo
Ognen Drangovski/The Human
Gabriela Petrushevska/Magna Mater
Stage manager: Mirko Lazarevski

Photography by:  Kosta Dupchinov

Premiere:18 April 2016

Whenever I think of our planet Earth and of every sigle thing that exists on it, it takes my breath away, my body bristles out of thrill, I am in ecstasy and shed tears for our living… Are we, the humans, destroyers or creators?

Jovan Ristovski, director

Shakespeare’s Sonnets are exquisitely brave, unconventional, lucid; Shakespeare plays with them, provokes, introspects himself and us – presenting us with one complex view of the life we can never distance ourselves from as well as from the reassessment of the crucial problems of the modern living.

Provoked by this dramatic potential of the Sonnets and perhaps never knowing that his Sonnets will be staged, the director Jovan Ristovski creates same extraordinary theatrical world with dramatic basis– material inspired by this very poetic works. I say extraordinary not only in sensibility, but in form, content and expression, as well because this play has its own expression, from the language it uses (gibberish) for articulating explicit speech – that nonetheless comments the humour that today it unfortunately is still called comedy.  Let’s return at the beginning. The title of the play “Sh” implies end and the “the end” of the play should indicate new beginning:

Look in thy glass and tell the face thou viewest
Now is the time that face should form another

Beginning out or in the world of the Wiches (Kurintikite) that create” theatre”, similary to the masons of “Midsummer Night’s Dream” , a world that is constantly being “infected” i.e. assimilated and destroyed by the Human – the main destroyer of every natural or social construction and eventually of the imaginative and the creative one. Taking advantage of the conformism in the name of “love”, he deforms everything material and immaterial. He is the one that makes the decision: Individual vs collective, stereotypes and prejudices, criticism or conformism, emotions or sense. All around us; silhouettes, pop culture, stylized and expansive gestures, archive of acting emotions and comments connected to the modern reflectioning, lights, indecent sounds, peculiar wigs – symbolism that perhaps somewhere will barely go through the end. And which end will it be? In fact, the strongest argument ends in the audience – it is the eye where the reflection of the scene can be seen: to become the change we want to see in the world.

Biljana Krajchevska, dramaturge

Sonnets – Director Angelcho Ilievski

William Shakespeare

Translated by: Dragi Mihajlovski
Director: Angelcho Ilievski
Dramaturge: Biljana Krajchevska
Scenography by:  Valentin Svetozarev
Costume design by: Blagoj Micevski
Original score: Darija Andonovska
Choreography by: Jagoda Dimovska

Roles:
The Poet: Petar Mirchevski
The Young Boy: Filip Mirchevski
The Black Lady: Gabriela Petrushevska
The Young Lady: Viktorija Stepanovska-Jankulovska
The Rival Poet: Ognen Drangovski
The Inspector: Ivan Jerchikj
Stage manager: Dimitar Mihajlovski

Prompter: Zorka Gjakovska
Lighting by: Ilija Dimovski, Igor Micevski
Sound by: Nikolche Terzievski
Photography by: Kosta Dupchinov

Premiere: 18 April 2016

Working with Shakespeare’s text is both temptation and pleasure, but when it comes to his Sonnets, it is more than a temptation and pleasure, it like exploring the Cosmos, discovering new worlds, entering the most private corners of the author and of you. It is an ocean of emotions, states, yearning, sorrow, pain, happiness …love.

It was quite challenging to me, first to create a clear story, with comprehensible and strong characters and development of their relations, where all of it will be clear just with the sonnets as they are, no word added, and then in my own way, to transfer everything on the stage– on one world of magic and mystique, where a different logic exists mixing the conscious with the unconscious and happening in a state of chaos of thoughts that should be turned into order.

Inner voices, plenty of them, voices that cannot be stopped, voices that come to life and kill, voices that make you fall asleep and kill the dreams. The story is told through the characters of the Poet and the Black Lady. Through their memories, everyday situations, painful topics, up until their final unity – the eternity.  The play emphasizes the external voice, the most frightening one- the authority, which cannot reconcile with the work of the poet that loudly speaks the truth. The question is how or whether it recognizes it? This emphasis is not the most important in the play, but poses many questions, crucial ones for an artist.

Nevertheless, the play represents our personal cry for honest love, love in general, unconditioned love – to wait for eternity, to speak for the missed moments, for the mistakes that were made, for the scars we have, to speak for our ability to make important decisions, for the mistakes we make and the ability to forgive. Countless questions and even more answers.

This play means a world to me for it opens, without hesitation, the most private and basic human emotions and states in this filthy, hypocritical time and serve as a reminder for the deep and honest feelings we have forgotten for a long period of time, just as we started forgetting ourselves…

 

Angelcho Ilievski, director

 

 

Shakespeare is the poet in the play and the playwright in the poetry. Shakespeare’s Sonnets, the 154 printed in 1609, present us with the opportunity to dive deep into his poetically and dramatically powerful contemplation of the eternal love, the meaning of life, the beauty, the loneliness, the desire.

Thus, every single sonnet is one short monologue with an inner conflict weaved within, elaborating themes that are quite intrigue even today (the question of human identity, reassessment of human relations, existence of moral and spiritual set of values here and now etc.).

Perhaps this complexity and openness for interpretation was the prime motive of the young director Angelcho Ilievski to stage them (for the first time in Macedonia) as a whole and complete play ”Sonnets”, at the same time as his personal text based on the collage of 30 sonnets by Shakespeare as well as two poems by Christopher Marlowe. The six characters are derived  (the Young Boy, the Young Lady, the Poet, the Black Lady, the Rival Poet and the Inspector) play life in the time which is combination of present and past, life that cannot end, life missed, actually trapped in waiting i.e. from the Poet’s point of view – that is life that serves only to fix something that is nothing than a memory. The first impression is that the story tells the rivalry between the brilliance of William Shakespeare and the one of Christopher Marlowe, but it is the tip of the iceberg – it is a play that tries to present the forgotten, yet so simple human values/virtues/love that disappear forever, devoid from the emotional or rational reasoning, something that will make its complete love sense only in the Eschaton.

Biljana Krajchevska, dramaturge

ROYAL GAMES

Directed by: Ljuphco Gjorgjievski
Translated from Russian: Olivera Pavlovikj
Art Director: Valentin Svetozarev
Costume Designer: Andrej Gjorgjievski
Music: Marjan Nechak
Light: Ilija Dimovski

Roles:
King Henry VIII of England: Petar Gorko
Thomas Boleyn royal treasurer: Slobodan Stepanovski
Elizabeth his wife: Sonja Mihaljova
Mary daughter of Boleyn Boleyn: Viktorija Stepanovska Jankulovska
Anne Boleyn’s daughter Boleyn: Katerina Anevska
Norfolk brother of the wife of Thomas Boleyn: Boris Chorevski
Vulzi Lord Cardinal: Mitko S. Apostolovski
Lord Cromwell Secretary-Cardinal: Ivan Jerchikj
Persy fiancee Anne Boleyn: Borche Gjaakovski
Jane Seymour Court Lady: Sandra Gribovska
Bishop Fisher: Dusko Jovanovic
Thomas More: Vasko Mavrovski
White poet: Aleksandar Kopanja
Noris: Nikola Projchevski
Smith: Petar Spirovski
Ekonomka: Julijana Stefanovska
Servant: Aleksandar Stefanovski

Prompter: Gordana Mihajlovska
Stage manager: Mitko Ivanovski

Dominion or love – This is a story of one ruler, an absolutist, who has the entire power in his hands, over the world and the church. Living in those conditions, the people can’t raise their voice, nor think, nor express feelings and, when they don’t speak it has its own meaning. His absolute power, reflecting in the mirror of his beloved wife, scatters in thousands of tiny little part of vanity, envy, malice, jealousy. He is in a position to decide: whether to present himself dismantled like that, in front of his people and the whole world or to break the mirror that tears him into pieces. To put it in another way, whether to be a king or a human, to embrace the power or the love. Unfortunately, the thirst for power triumphs over the love. According to certain contemporary researches, that thirst is more powerful than the mother’s instinct. But this play is not only about the ruler – the absolutist. He cannot be born nor thrive if there isn’t fruitful soil i.e. conditions for that. This play is about those who create those conditions, that soil, who support everything in order to grab some tiny little crumbles fallen from the royal table. When there is no ruler existing, they survive, because they are everlasting and, they rush to create a new ruler for the same purpose.

Ljupcho Gjorgievski, director

 

Grigori Gorin (1940-2000) is one of the most important and renowned dramatists of Russia, playwright and author, classic of the satirical prose.

After finishing medical school, he worked as a doctor. There was a period of time when he couldn’t decide between the medicine and the dramaturgy, but then he chose the latter and later he discovered the film. Since his early beginnings as a dramatist and a screenwriter, he had collaborated with the eminent theatre “Lenkom”, where the well-known director Mark Zaharov stages Gorin’s plays: “Forget Herostratus”, “Til”, “The House That Swift Build”. The mutual creative collaboration of Gorin and Zaharov results in the most popular works in the Soviet Union, such as: “Formula of Love”, “That Very Munchausen”, “To Kill a Dragon”. He also had his own TV shows and became very famous with the TV program “Around Laughter”.

In most of his works, Grigori Gorin makes the viewer reassess his own perception of the world of the historical events and the intimacy, presenting his satire and ironical interpretation of history and everyday living with profound philosophical sense. As a result of that, his works are still popular today.

The play “Royal Games” was inspired by the historic play of the renowned American dramatist and theorist Maxwell Anderson, “Anne of the Thousand Days”. Based on the chronicles of the reign of the brutal and wicked Henry VIII, this play served as a good base for the dramatist Grigori Gorin to create one rich stage fantasy themed: love and violent game with passion.