There seems to be general consensus that Boris Godunov is a brilliant play. Its reputation for not being stageworthy is likewise unquestioned. The most recent attempt to solve the puzzle of Pushkin's tragedy has been undertaken by British director Declan Donnellan. The motto of the Cheek by Jowl theater company, created by Donnellan in 1981, is a modern reading of the classics, and Boris Godunov did not escape this fate. Looking at the stage is like watching TV: speaking to the boyars, Godunov conducts himself like a savvy politician determined to uphold his reputation; as the Impostor (Yevgeny Mironov) questions a Russian prisoner, soldiers in camouflage stand around smoking; Otrepyev's meeting with the diplomats is staged like a talk show where a Presidential candidate is proclaiming his intentions to feed and clothe the whole nation. Running with the concept of the play as a political circus, designer Nick Ormerod builds a gigantic podium which serves as the stage: it dictates the showbiz aesthetic of the production, sets a swift rhythm to the actors' movements, and provokes unexpected meetings and crashes between the scenes. The play concludes with Donnellan's favorite mise en scene, which he carries from production to production like a talisman: all the characters appear onstage simultaneously, freeze and repeat their lines in flat, uninflected tones. The last line is followed by a pause from the audience: the people are silent, just as the play instructs.

(The production tours internationally)

Yevgeny Mironov's recognition for the role:

• The Seagull Theatrical Award, 2000

The Godunov page on the Chekhov International Theater Festival website