In the 1980s, Lyudmila Razumovskaya, a Soviet-era Russian playwright, received a commission from the Ministry of Culture to write a play. The result was Dear Elena Sergeevna, a play about disenfranchised teens, corruption and morality. Apparently, upon her completion, it was rejected by the ministry but is now played all over the world. This version, by Last Waltz Productions, is its Australian premiere.
The titular mathematics teacher, Miss Elena Sergeevna, hosts four of her students who have paid an unexpected visit to celebrate her birthday, or so she thinks. They ask for the key to the safe that holds their exam papers so they can forge their marks to get into university. Elena does not budge, leading to deplorable, despicable acts, all in the name of power.
As Elena, Teodora Matović perfectly balances the shock, disgust, disappointment, fear and utter defeat required of the role. Her final plea/demand is heart-wrenching to sit through. As Vitya, Harry Gilchrist is an endearing loof who becomes more and more pathetic and sympathetic as the play goes along. His final act of betrayal is possibly also his redemption.
Toby Carey is perfectly cast as the boyfriend Pasha, the villain and an unnerving presence. But he is reduced to a cowering, vapid shell of a man by the end. As the girlfriend Lida, Madeline Li hardly talks but her silent eyes speak volumes. Her solo scene with Elena makes it clear she is there for selfish reasons. She is not entirely innocent, but it doesn’t excuse what happens to her.
All of the above characters lay the groundwork for Faisal Hamza, who, as the charming, charismatic, playful, Machiavellian, evil Volodya, steals the show and makes the audience hate him. Of the four teenagers, Volodya doesn’t have the same agenda as the others. Rather, he is there to get his friends their marks ‘by any means necessary.’ Not because he wants to help them. He just wants to break Elena so that, for a fleeting moment, he can feel like he is in control. For a moment he has power.
Director Clara Vodă had me in the palm of her hand. After the first 30 minutes, I was tense. Following that, I was silently still. For the last 30 minutes, I was distraught and a mess of tears.
All the actors are so natural in the beginning that they feel plucked out of a high school down the road. By the time the explosive scenes are happening, I questioned whether I was watching theatre or real life.
The set design by Dan Potra is cluttered and even more claustrophobic than the Old Fitz usually is. The tension slowly encroaches and constricts the play until it has squeezed every last drop of drama and every last tear from the audience’s eyes.
I like theatre when it makes me think and feel. As a teacher, I was disturbed by the position Elena was put in. As an actor, I was astounded by the performances and direction. As a grandson of a Nanna, and the son of a mother, who both have experienced sexual assault, I wept for them and for all men and women who have had to experience such atrocities.
Dear Elena Sergeevna is disturbing, astounding, and heart-shattering. I’ll never see it again. But you should, and take a friend, because you’ll need someone to sit and debrief with afterwards.
Dear Elena Sergeevna runs until 11 April at the Old Fitz Theatre, 129 Dowling Street Woolloomooloo, 2011.
Tickets: https://www.oldfitztheatre.com.au/book-now
Website: https://www.oldfitztheatre.com.au/dear-elena-sergeevna
Socials: https://www.instagram.com/lastwaltzprod/
Socials: https://www.instagram.com/oldfitztheatre
Photo credits: Noah David Perry
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