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A small provincial Russian town is suddenly aroused from its
lethargy by the imminent arrival of the first railroad. Gorky is
less concerned here with the Industrial Revolution than with the
damaging personal effect of people who represent progress; in this
case, two engineers who come to prepare for the railroad and who
sweep into the lives of all and sundry with the force of a gale,
upsetting stalemated romances, stale marriages, and the equilibrium
of the petty bureaucracy.
Sung at a funeral and a wedding today. The full gamut of the human
experience from the ridiculous to the utterly pointless. A restless
bunch of young radicals hang out, have sex, dance, drink, moan and
philosophise at the home of a prosperous decorator. While Pyotr, a
sometime student of law, falls for the lovely, loose-living lodger,
his sister carps on about the tedium of life, lusts after Nil -
who's blind to her charms but in pursuit of the servant - and
botches her own suicide. Life. People shout, fight, eat and go to
bed. When they wake up? They start shouting again. In this house
everything fades quickly. Tears, laughter. Everything. Dissipates.
The last sounds ringing out over the lake. Then nothing. A banal
hum. A household falls to pieces as the personal and political
turmoil of pre-revolutionary Russia gathers pace. Gorky's darkly
comic first play of 1902, banned from public performance under the
Czarist regime, is seen here in an exuberant new version by Andrew
Upton. Philistines premiered at the National Theatre, London, in
May 2007.
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