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   Review: Stalin’s Favourite – Lowry Theatre, Salford
Adapted from the novel ‘The Whisperer’ by Orlando Figes
Director: Peter Symonds Reviewer: Clare Boswell The Public Reviews Rating: Three and a half out of Five. Direct from the National Theatre, this latest offering from Theatre Unlimited entitled ‘Stalin’s favourite’ sits quite comfortably somewhere between a play and a history lecture. Centred on poet Konstantin Simonov, it tells the story of how his poem ‘Wait for Me’ (initially intended for the object of his affections, actress Valentina Serova) projected him into the literary stratosphere of the Soviet Union. Simonov’s new found popularity made him a favourite with Stalin and whilst his contemporaries were being shot or forced to work in prison camps, Simonov was an honoured artist of the USSR, enjoying all the luxuries and perks sent his way. However being ‘Stalin’s Favourite’ writer came at a price and this retrospective play deals mainly with a now elderly and tortured Simonov trying to confront his demons and ultimately make peace with his past decisions. Adapted from Orlando Figes’ groundbreaking book The Whisperers, it would be all too easy for this one-man show to become a dramatic bashing of Communist Russia. Fortunately this play paints a much more balanced and honest picture, and focuses on the terrifying concept of ‘mob mentality’; the fact that an entire nation can be stirred into committing acts they never thought themselves capable of, in the name of a belief. This obviously isn’t relevant solely to the Communist ideal. One only has to look at Nazi Germany or more recently the barbaric atrocities of Cambodia’s killing fields to see that the theme of deluded ruthlessness prevalent in ‘Stalin’s Favourite’ is compellingly universal and plausible. It is this strong through-line that makes this 70 minute piece not only historically informative but also emotionally engaging. Adaptor Rupert Wickham plays Simonov and he does a great job at bringing this complex character to life, and certainly holds the attention of the audience throughout, especially bearing in mind that there is no real dramatic incident in this play. Unfortunately director Peter Symonds doesn’t appear to have the same faith in the strong writing and performance and has shoe-horned in some odd lighting states to emphasise crucially unpleasant memories. Instead of enhancing the drama, Max Hudd’s lighting design is unnecessary and distracts from the performance. The use of music is more successful and the arresting Soviet anthem used as the play concludes is particularly stirring. Michael Folkard’s minimalist set design of Simonov’s state-bought apartment is beautifully symbolic. Once a vibrant hub of Soviet activity and creativity, this dwelling is now decrepit and covered with dust sheets. The only remaining aesthetic proof that Stalinist Russia ever existed is a large and imposing gold medallion of the man himself ‘Stalin’s Favourite’ makes for an interesting 70 minutes of theatre and despite some production flaws is an insightful personal account into a fascinating period of history.
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