Legendary dancer Mikhail Baryshnikov will star in the UK premiere of Brodsky/Baryshnikov at The Apollo Theatre for four nights only in May. We caught up with Mikhail to find out more about this unique show.
Your show Brodsky/Baryshnikov is coming to the Apollo Theatre, can you tell us more about the show?
Brodsky/Baryshnikov is a one-man show and a nostalgic tribute to my long-time friend. It’s a poetic journey of Brodsky’s poignant and eloquent works.
Alvis conceived and directed the show, where did the idea come from?
The idea to make theatre out of Brodsky’s poetry was suggested by Alvis Hermanis, the great Latvian stage and opera director. He invited me to do it and I was truly honoured to work with such a remarkable director. Alvis harbours a deep love for Russian literature, and for Brodsky’s poetry in particular. I was sceptical to begin with – there are obvious problems with adapting poetry for the stage – but I was impressed by Alvis’ artistic vision in his other works, and after a year and a half of discussing it, we decided to do it.
You were very good friends with Joseph Brodky, what advice do you think he would give you about performing his work?
The play is an intimate experience – a conversation between me, and my beloved friend. His advice would be to remain honest and true to the work.
What are the challenges of producing a piece in Russian for a London audience?
When I’m on stage in this show I try to forget the audience and pretend I am alone in the auditorium. It’s a conversation between me and a person in the past so the language the audience speaks is unimportant. I try to be truthful to myself and to be as truthful as I can to my friend. Yes, it’s a responsibility, but there’s great joy there.
This show is much more than a poetry reading, how did you decide how each one would be performed?
The goal is always to stay true to the director’s original vision. Alvis Hermanis selected a range of poems including very early and very late ones. There’s no character, it’s just me, and Joseph’s poems.
But this isn’t a dance piece is it? Do you think that will surprise people who are more familiar with you as a dancer?
There’s no dance per se, but there’s a lot of body language so that was the bridge to bring my dance background into the drama of the play. It isn’t a dance show, and it isn’t a narrative, but if the audience are curious about Joseph’s work and my reactions to it, then they may be interested. It takes an open mind. I don’t feel a difference so I hope the audience agree.
Who do you think this show will appeal to in particular?
People who are interested in poetry, maybe Russian poetry in particular, but not necessary Russian speakers. We have an excellent translation by Jamey Gambrell, a former student of Joseph’s. In my opinion, she captures his humour, wit and wisdom so the play is accessible to everyone.
What are you most looking forward to about having the show in London?
Well…it’s the ultimate challenge!
