Marylebone Theatre becomes London’s newest stage as the curtains rise for the first time this month. The honour of baptising the new playhouse did not fall to Falstaff or Lady Bracknell but a character who belongs outside the English theatrical tradition: False Dmitry Tzar of Russia from Schiller’s 1857 drama ‘Demetrius’. Schiller’s unfinished masterpiece has been brought brilliantly to life by playwright Peter Oswald, Director Tim Supple and Artistic Director Alexander Gifford. Marylebone Theatre has opened with a roaring triumph.

Schiller’s play is set in the ‘Time of Troubles’ a blizzard of anarchy and turmoil that engulfed Russia from 1593-1613. The play follows the true journey of Dimitri, an obscure peasant who became the Tzar of Russia.

The widow of Ivan the Terrible Tzarina Maria, superbly acted by Poppy Miller, has been forced into a cold convent in the Siberian wastes – where she is witness to the horribly burnt corpse of her young child- the Tzarevitch (Crown Prince) Dmitry. The corpse, however, misses the identifying gold cross hung around the Tzarevitch from his christening.

Years later at a public execution in Poland, the young man on the bloc is identified by a mysterious man in the mob as “the Prince Dimitry”. But is he a false pretender?

Royal recognition by his mother is vital for the Polish /Vatican plot to invade Russia and place Dmitry (Tom Byrne) on the throne – and a mother’s desire for revenge on the killer of her child leads her publicly to recognise the young man as her son Prince Dmitry.

Dimitri, helped along by Polish politicians, Cossack warlords, and a fanatical Cardinal, invades Russia.

The modern uniforms and suit-wearing bureaucrats bring this ancient tale into the context of Modern Russia. Whispered plots are gradually illuminated and dark conspiracies are uncovered. The audience becomes totally transfixed as we follow the strings of control back to their puppeteers. The journey is riveting. The audience is beckoned into the narrow passageways, vaulted chambers, and claustrophobic paranoia of the Kremlin.

In this labyrinth of intrigue, I felt like a member of the political inner circle. I was shown battle plans, glimpsed into confession boxes, heard truths that would topple regimes, and saw the pursuit of power overcome piety, religion, love, and loyalty.

Cardinal (James Garnon) and Cossack (Piotr Baumann) alike dance to the same grotesque fiddle from which a tune of corruption and deceit resound in the souls of all.

Power inhibits a balcony, aloof and from afar. It is clothed in the dignified regalia of political ceremony. Yet behind the golden veil power is a grotesque temptation, a beast gifted in the arts of seduction to which no soul is immune.

Schiller’s cautionary message bursts forth, fully realised by Peter Oswald. The message is made clear; truthcan be weaponised in the pursuit of power, but only truth untainted, undaunted and undefeated can act as a defence against the sins that power breeds.

From Schiller’s unfinished play this profound message was beautifully and fully realised. Man most coveted lover, power is given naked expression in this rich, raw and deep production. With ‘Dmitry’ the Marylebone Theatre has undoubtedly joined London’s cultural diadem of great stages.

BY STRABO NEWMAN

06.10.2022