“Summer” at Theater Project 27: A Nostalgic Exploration of Teenage Relationships

Moscow’s Theater Project 27 recently premiered “Summer,” a play by Lara Bessmertnaya and directed by Dmitry Mulkov. The production, positioned as a companion piece to their earlier work “Key to 505,” delves into the complexities of teenage friendships, the bittersweet pangs of nostalgia, and the inevitable transition from carefree youth to the realities of adulthood.

A Tale of Two Seasons

The play centers on Liza, a 14-year-old student (played by Daria Teplova) who, driven by nostalgia, impulsively travels to a summer camp instead of attending school. The narrative unfolds across two parallel timelines: a stark, black-and-white depiction of winter and the present, projected onto a transparent screen, and a vibrant, colorful portrayal of summer and the past on the main stage. This dual presentation visually emphasizes the contrast between memory and reality.

Shakespeare and Camp Life

Within the camp setting, a counselor named Vadim (Ales Snopkovsky) leads a group of students in rehearsals of Shakespeare’s “A Midsummer Night’s Dream.” Vadim, a student at Kulka, uses the play as a means of prolonging the ephemeral joy of camp life. The students’ attempts to embody classical Greek aesthetics, complete with stylized poses and mournful flute music, provide a humorous counterpoint to the play’s more serious themes. The production subtly references Mulkov’s earlier work with “The Iliad” during his time at the Russian State Institute of Social Sciences, including an album of Achaean music created with classmates.

The Weight of Nostalgia

As in “Key to 505,” music plays a crucial role, with Liza listening to tracks from the group “School No. 12.” However, “Summer” explores the transient nature of friendship. Liza finds herself alone in the deserted winter camp, her summer friendships proving to be less enduring than she had hoped. A timer projected above the stage counts down the days of the camp session, underscoring the fleeting nature of time and experience. Vadim observes that camp represents a “dense concentration of experience and feelings,” but acknowledges that “there is no holiday every day,” and the return to reality can be painful.

A Nuanced Portrayal of Teenagers

The play distinguishes itself through its realistic portrayal of teenagers. Mulkov avoids caricature, presenting characters who are vulnerable, uncertain, and genuinely trying to navigate the complexities of adolescence. Daria Teplova’s performance as Liza is particularly noteworthy, building on her previous success in “Factory for Making Prodigies” at Theater Project 27. Liza is depicted as both a talented artist and socially anxious, finding acceptance and connection within the camp community.

The Inevitability of Change

“Summer” ultimately confronts the inevitability of change and the difficulty of holding onto cherished memories. The play suggests that confronting and accepting the passing of time is essential to avoid being trapped in a perpetual state of longing. The final image of Liza lying alone in the snow symbolizes the end of summer and the loss of innocence. The play draws a parallel to Ryoko Sekiguchi’s concept of “Nagori”—the bittersweet feeling of attachment and longing for what is passing—arguing that acknowledging the end of a season is vital to moving forward.

Lara Bessmertnaya is a playwright and graduate of the Higher School of Stage Arts, and has worked with numerous theaters across Russia, including the Moscow Art Theatre and the Pushkin Theatre. Theater Project 27

Dmitry Mulkov directed the play and is known for his work in the director’s laboratory “Uninvented Stories.” Kaliningrad Dramatic Theatre