Adaptation and direction: SKUTR (Martin Kukučka a Lukáš Trpišovský)
Set: Jakub Kopecký
Costumes: Simona Rybáková
Music: Michal Nejtek
Eugene Onegin: Miroslav Zavičár
Tatiana: Pavlína Štorková
Lensky: Vladimír Polívka
Olga: Marie Poulová
Larinova: Martina Nováková
Larin: Hynek Pech
Nurse: Marie Kleplová
Zaretski: David Smečka
Anisia: Isabela Smečková Bencová
Aunt: Kamila Sedlárová
General: Ondřej Malý
Dark-eyed girl: Natálie Holíková
Premiere March 7th, 2015
Eugene Onegin – “I write this to you - what more can be said? What more can I add to that one fact? For now I know it is in your power to punish me contemptuously for this act. But you, keeping for my unhappy lot even one drop of sympathy will not entirely abandon me.” Tatiana writes this moving letter to Onegin, a bored dandy from St. Petersburg who has come from the big city to their village, turned the heads of both sisters and then shot in a duel the only possible
bridegroom for miles around… The famous romantic story is read by poet Marina Tsvetaeva as a “story about a bench on which they never sat together”, as the apotheosis of a relationship that was beautiful once and for always because it never became real. Behind the story of the dandy Onegin hides a reflection on man on the threshold of a new century.
“ Eugene Onegin is a noble production that does not lack slight exaggeration and playfulness. It is meaningfully decorative, but this does not mean there is no room for expressive scenes (which Pavlína Štorková, in particular, manages brilliantly). SKUTR have played homage to Pushkin’s immortal romantic work, but then they have followed their own path.
—Lenka Dombrovská, Divadelní noviny
“ This Eugene Onegin from Hradec is not an abstract and complicated alternative or code for the select, but an accessible lyrical drama, in which the unfulfilled feeling can be cut with a knife. It
is heightened by Michal Nejtek’s evocative but sober music, close both to Russian folk song and Georges Brassens, and also gags that create a distancing effect, commentaries and above all precisely-measured exaggeration. The actors are a choir – but they all have their big solos.
—Petr Mareček, idnes.cz
SKUTR – The dramaturgical and directorial tandem Lukáš Trpišovský (1979) a Martin Kukučka (1979) graduated from DAMU in 2004, with their graduation production exciting the interest of both critics and audiences. After graduating, they gained artistic residence in the Divadlo Archa, where they created several successful theatre projects. SKUTR productions have been taken to festivals in Serbia, Poland, Lithuania, Italy, Germany, Romania, Slovakia, China and South Korea. This activity abroad culminated in a month-long run at the Edinburgh Fringe Festival in August 2008, where the production of “The Weepers” was nominated for a Total Theatre award. The production Joke Killers, created together with Adéla Laštovková, then represented the Czech Republic at the Expo 2010 world exhibition in Shanghai. Recently they have been looking more and more at a combination of music and theatre. Together with the Berg orchestra they created a production of Heiner Goebbels’ Schwarz auf Weiss for the international festival Strings of Autumn, and a staged performance of Honegger’s King David. They are interested in multigenre auteur projects, the combination of acrobatics, dance and physical theatre, martial arts techniques, design, sound and various improvisations. They are inspired by theme, people, the specific place of the creation of a production, by elements of tradition and the newest information technology and its use, and by new circus. According to their teacher Miloslav Klíma, the most characteristic feature of their work is a clear interest in human fate, the interweaving of time and plot bands, the ludic principle, the search for harmony, lyricism and the imagination,
and an interest in ritual. “The Scooters have a superb ability to highlight the hidden. They know how to search for connections that are not clear at first sight, they like to perform autopsies and then to examine the human soul under a microscope,” Lenka Dombrovská has written.
The Klicpera Theatre – The theatre opened in 1885, with a professional company starting to perform there in 1949. The theatre achieved its greatest successes after 1995, when Vladimír
Morávek became artistic director for a decade. Thanks to provocative productions that violated established stereotypes, unconventionalstagings of world classics and works of Czech realism, a renewed company of actors and a firmly-structured dramaturgy, under Morávek the theatre broke free from the regional theatre mould and started to gain nationwide recognition. The current artistic leadership of David Drábek has a specific style, affected stylisation, exaggeration and experimental grotesqueness. The Klicperovo divadlo has four times been named the Theatre of the Year in the prestigious Alfréd Radok awards and is each year the main organiser of the festivals Theatre of European Regions and Waiting for Václav.