Boogie on the Bones continues at Anatomy Lecture Theatre at Summerhall until 31 August 2026 (except 24).
Star rating: three stars ★ ★ ★ ✩ ✩
Set in 1950s Soviet Russia, with modern global connotations, Boogie on the Bones is a committed new musical about the realities of being a young adult living under an oppressive regime
The draconian Soviet rules are such that if music is desired it must be played in secret on banned records carved onto old x-rays. In Moscow five young people are exploring what it means to be young and in love, to be different and to be lively, when the state not only frowns upon such self-expression but actively legally prohibits it.
Katya and Mels (musician and actor Andrii Zamiatin) are supporting the strict Utilitarian state, represented effectively through severe grey dress. Conversely Fred (Faiaz Valiullin), Polly (Anastasia Aush) and Betsy (actor and director Sofia Barysevich) are colourful and full of life. They enjoy jazz and dancing and represent the Stilyagi youth, a group deemed rebellious for copying Western fashions and music. As Katya and Mels work to infiltrate the subculture, they start to develop dreams and opinions of their own.
The minimalist set centres around the four large grey heads of the communist leaders. These tall, imposing figures loom over the young characters, an effective ominous reminder that we are all constantly being watched. When lit in different ways these become downright creepy. They are also used as stand-ins for minor characters who have conformed to the uncompromising regime.
Boogie on the Bones comes from independent theatre company withintheatre, whose previous plays also carry political themes. The piece includes new songs, mostly sung in Russian, alongside known boogies. The new songs are energetic and heartfelt and the catchy beats may even get you gently boogieing along in your seat.
The cast is undoubtedly committed. The show is full of energy, with every single member present and giving it their all throughout. However, delivery often lacks authenticity. With more confidence in themselves and conviction in their performance this would come, for each performer shows moments of vulnerability and truth.
The standard of dancing and singing, accompanied effectively on the piano by Zamiatin, also varies, with some performers more proficient than others. Soviet Katya (Olya Pipchanka), who is consistently strong in all she does, delivers her punchy spoken word song brilliantly.
As a whole the production needs a good polish, a rethink on the execution of a couple of short scenes and a space large enough in which to jive properly.
The piece has an important message about the ongoing situation in several Slavic countries and resonates with conditions in other countries worldwide. The cast, from Ukraine, Belarus and Russia, explain that the crises portrayed are still a very relevant part of their lives and that the censorship is such that they could not perform this show at home. It is a poignant message that is clearly personal and deeply emotional for the team, and one which needs to be shared.
The ending takes the audience away from fiction and into reality, from the past into the present, bringing the stories up to date with projected images of protests and modern day arrests. This critical moment should be hard hitting but loses some of its gravitas by the pace in which the audience is thrown from the world of the characters into the real world. Clarity on exactly where and when the images were taken would further add to the significance of the message.
Overall this is a worthwhile show, with just the right amount of interaction for the audience to know we are a vital and included part of the story, while we remain safe in our seats.
Fun, lively and heartfelt with a significant message, Boogie on the Bones is well worth a watch.
Molly Glenn
SHARE THIS POST:
Comments are closed.