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The experimental Russian director, who has staged the avant-garde 90-minute piece in French and Russian with English supertitles, concentrates on the eye and the brain here, instead of the heart. Nobel laureate Ivan Bunin’s melancholy tale of love lost and found takes the form of a postmodern montage of Paris charles didelot pointe shoes uk online. It’s an ephemeral dream of last romance, which floats from lovely to surreal without ever reaching the emotional depth an audience might crave. That’s frustrating at times, and there are points where the director exposes his use of stagecraft too boldly when subtlety would work better. But there’s no denying the gorgeously raw theatricality of “In Paris.”..
Atmosphere is paramount in this ethereal realm where the aristocratic ex-general finds comfort in the arms of a young waitress named Olga (a ravishing Anna Sinyakina), also an recent emigre. Both are far from home and full of longing, clinging to each other in the City of Lights (set and costumes by Maria Tregubova). Still, Olga and the general dance their pas de deux without much in the way of carnal embrace, and that sense of restraint makes the little things mean more. She steals glances while serving him bowls of cucumber soup. He stares back charles didelot pointe shoes uk online. Bathed in gauzy light (designed by Damir Ismagilov), they circle each other slowly, warily but still inescapably drawn..
When the couple touch fingers, it’s as epic a moment as any bed-rumpling romp on “Sex and the City” (where Misha famously played another brooding Russian). Krymov’s acrobatic staging of the rendezvous brings to mind the work of Robert Lepage or Rinde Eckert, spectacular but also intimate. Sinyakina, the leading actress from Krymov’s Laboratory, imbues Olga with such vulnerability that you wish this were a different kind of love story charles didelot pointe shoes uk online. Tei Blow’s sly video design and Dmitry Volkov’s beguiling soundscape also heighten the passion in this cerebral stream-of-consciousness piece..
The way the text is projected onto the stage leaves the audience feeling swept away by a torrent of words. It’s impossible to read them all as they rush by, so instead we catch snatches of meaning, even as the production shifts from theater and opera to film. These daring genre leaps make the play more challenging for viewers, but also more rewarding. It’s startling how little dialogue there is here, and yet how full the narrative seems charles didelot pointe shoes uk online. To be sure, there are flaws. The comic moments, from a mechanical rat to a dog puppet, often fall flat. The silences would be more powerful if less abundant. The director also relies too heavily on a rotating stage to show the versatility of the ensemble (who jump from music to mime)..