“Vladimir” reviewed by Frank Meccia

Directed by Lou Contey, Vladimir is a powerful drama that sometimes feels less like a traditional play and more like a documentary unfolding right in front of you. It is a story about journalism, truth, Russia, and what can happen when someone becomes determined to uncover what those in power would rather keep hidden.

The story takes place in Russia in the early 2000s, during the Second Chechen War, a conflict that lasted from 1999 until 2009 and resulted in tens of thousands of deaths. One of the darkest events of that period was the 2004 Beslan school siege in North Ossetia. Armed terrorists seized School Number One, taking more than 1,100 people hostage, most of them children and their parents. After three days, Russian security forces stormed the school amid explosions and gunfire. 334 people were killed, including 186 children.

This is where Vladimir becomes more than a history lesson.

Rebecca Jordan stars as Raya, a Russian journalist and author who I would describe as the Barbara Walters of Russia—only with absolutely no off switch! Raya is smart, determined and completely unwilling to accept the official story simply because the government says it is true. She wants answers, and she is willing to put herself in danger to get them.

Raya recruits young journalist Kostya, played by Adam Schulmerich, to help her dig into what really happened. She knows exactly what she is asking of him—and she also knows that getting too close to the truth could have serious consequences.

Her friend Jim, played by Ben Perry, is a director at a local television news station. He wants to report the truth, but he has to deal with government officials, Russian Interior Ministry pressure and the demands of the television network. The play also takes us back to the resignation of Boris Yeltsin on New Year’s Eve 1999, when the television station was tasked with broadcasting the historic moment. Cameraman Tristan Odenkirk has the unenviable job of capturing the president looking focused, composed and exactly where he is supposed to be on camera.

But in Russia, telling the truth can be dangerous.

As Raya continues investigating, the government begins finding ways to stop her. Threats aren’t enough, so the intimidation becomes much more personal. At one point, Raya is even poisoned through tea in her own home.

The supporting cast adds considerably to the production. Isabel Alamin plays Raya’s daughter, Masha, who is preparing for her wedding and desperately wants her mother alive to see her get married.

Kseniya Jamyan, as Chovka, takes on several different roles throughout the production. Her Russian accent adds another layer of authenticity to the characters without becoming so heavy that the audience struggles to understand what is being said.

And that deserves special recognition. Dialect coach Elise Kanzlerie has done an excellent job. The Russian accents sound authentic but never overpower the dialogue. You never find yourself thinking, “What did they just say?”—which can sometimes happen when actors attempt strong foreign accents.

The production runs approximately 120 minutes, including a 20-minute intermission, and the pace keeps you engaged. There is plenty of drama, tension and history packed into those two hours, and the ending is particularly effective.

There is also an interesting piece of Raya’s story that the production leaves out: her dual citizenship and the efforts by the U.S. State Department to encourage her to remain in the United States during a book tour because of concerns for her safety. But perhaps that omission also emphasizes something important about her character. Deep down, Raya is Russian—and despite everything happening around her, she wants to help her country.

The technical elements of the production are equally impressive. Joe Shermoly’s set design is efficient and convincing, creating the feeling of living and working in Russia without overwhelming the stage.

Stage manager Tina Jach deserves credit for helping create some very effective scene transitions. Rather than simply turning the lights off and moving scenery around, the production uses semi-darkness, performers with covered faces and striking red lighting during the transitions. It creates an unsettling atmosphere that fits the story perfectly.

Vladimir is not necessarily an “easy” night at the theatre. It asks you to pay attention, absorb history and think about journalism, government power and the price of telling the truth.

But that’s exactly what makes it worth seeing.

If you enjoy theatre that entertains you while teaching you something, Vladimir belongs on your list. Like the best productions of Timeline Theatre, you may leave the theatre wanting to go home and start researching what you just watched.

And when a play can make you do that, it has accomplished something pretty special.

Shattered Globe Theatre’s” Vladimir” runs through November 14, with performances :

Thursday, Friday, and Saturday at 7:30 p.m.

Sunday at 3:00 p.m.

Tickets range from $20 to $60.

Tickets are available through SGTheatre.org or the Theatre Wit box office at (773) 975-8150.

Parking is available across the street in the restaurant’s back lot. There is a charge.

My recommendation: See it.
Come for the drama. Stay for the history. And be prepared to leave with a lot more questions than you had when you walked in.

Photos by Michael Brosilow

To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at “Vladimir”.