By James V. Ruocco
Set in Russia during 2016, "A Russian Doll, " the Barn Theatre's latest exclusive venture, focuses entirely on the principal character of Masha, an attractive St. Petersburg University English literature major who moonlights as an opinion manipulator and assumes multiple online identities to coerce and influence anyone willing to succumb to her ideas, jokes, tirades, exchanges, suggestions and political influences.
It's a job she does extremely well and one that addresses talky topics ranging from racism, trolling, pornography and propaganda to global warming, EU referendum campaigns, sex toys and very fucked up mind games.
"We're using Third Reich techniques," she tells us after chats with her online boss, commonly referred to as Jay-Z throughout the production. And, yes, she isn't kidding.
Ambitious.
Topical.
Promising.
Accomplished.
Emotional.
"A Russian Doll" maintains a great actor-audience perspective that evokes just the right amount of shock, persuasion and acidity that forces you to sit up straight, listen and cling to every line of dialogue that Masha tosses your way with obvious determination, control and vitality.
Written by Cat Goscovitch, the play itself is curative cannon of radical ideas, revelations, theories, expressions and experiences that are exposed with credible empowerment, certainty and far-reaching exploitation. As the play evolves, Goscovitch moves Masha about Liz Da Costa's roomy, dark, boxed set surrendering to his fully realized list of truths, jolts, lies, resentments and Brexit mumbo-jumbo that is both entertaining and intense. He doesn't waste a moment. He knows what he wants and he runs with it. It's a high-wire act of sorts that's absolute, driven and airtight as the play inches toward its fully-rendered, thought-provoking conclusion.
Staging "A Russian Doll," director Nicolas Kent enjoys deft observations and points of view that are exactly right, candid, consuming and fascinating. The emotional power that Masha holds over her listeners and audience is portrayed with skillful indulgence and edgy intercuts as are her mood swings, restlessness, changes in topic and quirky outbursts and pronouncements. It's a visionary navigation that Kent unmasks with a personal smoothness and expanse that is inspired and layered without any form of hesitation or overkill.
The casting of Rachel Redford as Masha is one that complements the story beautifully. There's lots going on here and Redford generates enough sparks, energy and responsibility to keep her character of Masha immersed in the playwright's rhythmic melodrama, its discussions, its heat, its quirkiness, its craziness and its ever-changing story arcs where no topic is truly off limits. It's the performance of the season and one that no doubt with earn Redford standing ovations whenever "A Russian Doll" is performed.
In conclusion. "A Russian Doll" is a solid, fast-paced production brimming with confidence, coherence and intelligence. Playwright Cat Goscovitch gives this one-woman play plenty of bite, sting, humor and persuasion using words, conversations and monologues that propel the action forward without missing a heartbeat. Nicolas Kent's direction is straightforward and strong, thus, supplying the necessary fuel to keep Rachel Redford's performance chilling, honest and real throughout the show's welcoming 70-minute running time.
"A Russian Doll" is being staged at the Barn Theatre (3 Beeches Rd., Cirencester, UK), now through June 13. Performances are 7:30 p.m. Tuesdays, Wednesdays, Thursdays, Fridays and Saturdays. Matinees are 2:30 p.m. Saturdays and 2:00 and 5:30 p.m. Sundays. Tickets are £11.50 to £32.50 For more information, call +44 1285 648 255.
Following its run in the Costwolds, the production is slated to open at the Arcola Theatre (24 Ashwin St., London, UK). Dates and times will be announced shortly.
