In 1960s Soviet Russia, a group of youngsters dubbed Stilyagi, style hunters, were protesting the regime by rebelling against conformity. From cutting vinyl records out of old x-ray imaging to romanticising the United States, they were at the helm of Soviet counterculture. Obviously, the Komsomol, the official youth division of the Communist Party, wanted to shut them down. As the young people dream of a world beyond the limitations of the USSR, the state doubles down on their threats.
Boogie on the Bones shines a light on a rather unknown slice of history. Styled as a lecture, it’s very educational and has a noble aim. It is, however, a weak piece of musical theatre. Though it’s an anthem to liberation and individuality, it’s predictable and formulaic. The setup is too brief, the love stories are rushed, there’s no dramatic tension whatsoever, and the emotional journey is lacking.
It feels like we’re missing big chunks of material, as if the show is either undeveloped or has been chopped up—which might as well be the case due to the Festival’s time restrictions. The narrative is too frantic for the logical junctions of the plot to appear natural. Olga Pipchanka, Andrii Zamiatin, Sofia Barysevich, Fabian Valiullin, and Anastasia Aush hold their own in their performances, moving from direct narration and audience interaction with ease. They’re lovely singers and equally valid musicians too.
While the project can most probably be saved by revising the writing with strong dramaturgical work, one thing that can’t and won’t be excused is the production’s attitude towards AI. Projections accompany much of the action, placing the scenes across a variety of locations that have been generated by Gemini. The watermark gives it away. It’s truly bad form for such a promising company. Very disappointing.
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