At 11:35 p.m. on Monday, 1 July 2002, Bashkirian Airlines Flight 2937, a Russian-built Tupolev-154 passenger jet en route from Moscow to Barcelona, Spain, collided with DHL Flight, a Boeing 757-200 cargo plane on its way from Bergamo, Italy, a stop-over on its flight from Bahrain, to Brussels. The collision happened over Überlingen, Germany, near Lake Constance, killing all 71 people on board; both crew members of DHL 611 perished as well. Among the passengers were Svetlana Kaloyeva, 44, and her two children, Konstantin, 10, and Diana, 4, the family of internationally successful Russian architect Vitaly Kaloyev, 45, who were on their way to join their husband and father, in Spain working on a large construction project, for a beach vacation on the Costa Dorada.
The airspace in which the midair crash occurred, bordering Germany,
Austria, and Switzerland, was under the control of a private air-traffic control company, Skyguide, operating out of
Zürich, Switzerland. The accident was the
result of technical problems caused by on-going repairs and a delayed response
from the only air-traffic controller on
duty, whose colleague was sleeping in the corridor outside the control room. An inquiry called the cause “a mistake,” a
conclusion that enraged the architect.
No one was found responsible or even apologized, let alone received
punishment. Unhinged by grief, Kaloyev,
who came from the Caucasian Russian province of North Ossetia, became obsessed
with getting revenge for the decimation of his entire family. Hiring a private investigator from Moscow,
the architect identified and traced the ATC whom he blamed for the loss of his
family, Peter Nielsen, a Danish citizen who lived in Kloten, a suburb of
Zürich.
On Saturday, 21 February 2004, the Ossetian architect left Russia and
flew to Zürich and checked into a hotel near Koten. At a few minutes before 6 o’clock on Tuesday afternoon,
24 February, just under two years after the crash, Kaloyev arrived at Nielsen’s
house and, after confronting the ATC in front of his house, stabbed the man to
death with a 5½-inch knife. Nielsen’s
wife was inside the home, but his three children had come outside with their
father. Nielsen was 36 years old when he
was killed.
Kaloyev was arrested by Swiss police at the Kloten hotel the next
evening and on 26 October 2005, he was convicted of murder and sentenced
to eight years in prison. In 2007,
however, the architect was paroled and on 8 November, he was released and
returned home to North Ossetia, where he was greeted as a hero. Kaloyev was appointed regional Deputy
Minister of Architecture and Construction. Ossetia is a region with a long tradition of
tolerating vendettas.
These are the bare bones of the real-life incident on which British
playwright Matthew Wilkinson based his 2015 play, My Eyes Went Dark, a two-actor play that premièred that year on 25
August at the Finborough Theatre in London, co-produced with Cusack Projects
Ltd., directed by the playwright with Cal MacAnnich as the architect and
Thusitha Jayasundera as everybody else. In
August 2016, the play went to the Edinburgh Festival, playing at the Traverse
Theatre. The text of My Eyes Went Dark was published in 2015
by Oberon Books of London and is also available in e-book format. The story of the crash of Bashkirian 2937 has
also been told in the 2017 film Aftermath,
with a character based on Vitaly Kaloyev played by Arnold Schwarzenegger.
From 7 June to 2 July 2017, My
Eyes ran in Theater B at the 59E59 Theaters with Jayasundera and Declan
Conlon replacing MacAnnich as part of the theater’s Brits Off Broadway (23 March-3
July 2017, this year). It was a co-production with 107group of London in association with Traverse Theatre in Edinburgh and London’s Cusack Projects. Diana, my frequent theater companion, called me in the afternoon on Saturday, 1 July, to suggest we catch the show, which had opened on 14 June, that evening; we met at the theater complex at 8:15 p.m. for the production’s penultimate 75-minute performance in the little variable-space black box on 59E59’s third floor.
I’m not familiar with Wilkinson’s work (Sun is Shining – London, 2002/Brits Off Broadway, 2004; Red
Demon – adaptation from Hideki Noda, 2003; Red Sea Fish – U.K. and Brits Off Broadway, 2009), so I don’t know if
this is typical, but he wrote My Eyes Went
Dark as if it had been adapted from a journal or letters or interview transcripts. (The story is recounted in myriad news
accounts and there are even Wikipedia
pages for Kaloyev and Bashkirian 2937.) It’s
also only lightly fictionalized—the architect has become Nikolai Koslov, his
wife is now Marya (the Koslov children, who don’t appear in the play, are Anya,
4, and Yakov, 8), and Peter Nielsen is called Thomas Olsen; the building
project was in Nice on France’s Côte d’Azur—so the playwright has surrendered
control of the material to the various chroniclers of the actual history. As anyone who’s had any experience with
documentary theater knows (see my blog article “Performing Fact: The
Documentary Drama,” 9 October 2009), hewing too closely to the historical
facts, especially the chronology, can make problems in the drama department. If the writer lets the reality drive the
structure, he loses control; with fiction, he’s always in charge.
That’s the impression My Eyes Went
Dark gave me: Wilkinson tried to squeeze way too much of the history into
his 75-minute drama, perhaps led by his attraction to some of the moving anecdotes
and telling moments in Kaloyev/Koslov’s story—given his obsessiveness, there
are a lot them—and telling too much of the story to get to his dramatic point. For example, in an early scene Koslov gives a
detailed explanation of why a private company handles the air-traffic control of this bit of Central European
territory. It’s complicated and largely
unnecessary—and it’s also hard to see why the grieving man would have to
explain it to anyone anyway. Those
involved in the crash would already know this, and we don’t need to know it. What we end up with is a string of disjointed
episodes covering some five years that don’t cohere. (There’s no dramaturg listed in the program;
Wilkinson could have used one, or at least an editor.)
The most significant detriment Wilkinson’s decision has is that it
prevents him from making clear what his point is—what he wants us to understand
from My Eyes. If all the playwright wants to accomplish is
to stage a portrait of a man obsessed with revenge, that’s just not sufficient
to sustain even an hour and a quarter of stage time. Besides not being particularly dramatic
ultimately, it quickly becomes boring.
If he had something more in mind, it never made it to the page and
certainly not to the stage. At least, I
couldn’t figure it out—and neither could Diana.
I guess a lesson for a play based on material like this is: less fact,
more truth. Less reality, more
imagination.
This tactic also burdened Jayasundera with so many characters to
portray that she had a hard time differentiating them all—and I had a hard time
distinguishing them. I can’t even be
sure if each scene introduces a new personality for her, or if any of them
repeat. (Some can be identified from the
performance context, such as another bereaved parent, Koslov’s sister, a little
girl who’s obviously a neighbor and playmate of Yakov’s, and Thomas Olsen. They all have names in the published script,
but few are named in the dialogue. Jayasundera’s
prodigious efforts to make them each distinct is probably the reason for the
actress’s nomination for an Off West End Theatre Award in 2015.) As for Declan Conlon as Koslov, he was
constrained to give pretty much a one-dimensional characterization: a man with
a single-minded purpose. Even if Kaloyev
was that man in reality, it’s not a viable stage persona. Wilkinson, who’s also an actor himself,
trained at the Royal Academy of Dramatic Art, leaves the actor nowhere to
go. I mean, Koslov had moods, but they’re
all variations on his single-mindedness—his love, his anger, his frustration,
even his victoriousness. There’s no
development. Conlon (who bears an
occasional resemblance to Jonathan Pryce) does a creditable job depicting this,
but it’s an exercise in acting technique. My Eyes Went Dark ends up a
one-note play with nowhere for Conlon to go as Koslov wallows in his grief and
obsesses about revenge. It became enervating and boring despite (or
maybe because of) Conlon’s high-pitched performance.
I found My Eyes un- and even
anti-dramatic and even un-theatrical, despite obvious attempts by the designers
to infuse it with theatrical FX, particularly Elliot Griggs’s lighting, which
included illuminated mist and a square patch of light on the floor that
represented the granite grave marker that Kaloyev compulsively tends and
cleans, and Max Pappenheim’s sound, including the harrowing (and loud) roar of
the collision. The minimalist set designed
by Bethany Wells (who also did the costumes) was a strip across the small
playing area—the audience sits on two sides—that forms a kind of narrow runway
demarked by a shiny, black, mylar-like runner (on which entering spectators
were admonished not to walk, toward which end a mat was temporarily laid across
the strip like Raleigh’s cloak) with a molded plastic chair at each end. A panel of six Fresnel lights is mounted
behind each chair. There were no props
at all; everything that Conlon handled was mimed. All of this was something of a technical
accomplishment—the 59E59 staffer who greeted Diana touted the lighting—but I
have no idea what any of it represented, especially the mylar strip of which
the theater was so protective.
As of 2 July, Show-Score had collected 22 published
reviews, of which 12 were of the New York production. The average score of those local notices was
70, with 50% of the New York reviews positive, 42% mixed, and 8% negative. Show‑Score’s highest rating was a single 90
(Theater Pizzazz), backed by one 85 (Broadway World), and a low score of a
single 40 (New York Times), the only negative
notice. My round-up will cover six
reviews.
After summarizing the account of the air crash, Maya Phillips asserted
in the New York Times that Kaloyev’s tale is
“a story worthy of the most memorable of characters, from Medea to Inigo
Montoya,” but that in My Eyes Went Dark
“Matthew Wilkinson . . . creates a drama that ultimately feels more like a
true-crime movie of the week.” Phillips
complained, “Too often . . . the script jumps face first into scenes, then
flounders as the exposition-laden dialogue tries to pick up the slack” even
though “[t]he staging, from the crystal-clear sound design to the dynamic
flash-and-fade lighting, effectively guides the play through hopscotching
shifts in setting and time.” Of the
cast, the Times reviewer wrote, “Ms.
Jayasundera moves deftly from role to role, though she’s ill served by some of
the less developed ones. Mr. Conlon’s
Koslov is an unfinished sketch, barely shaded beyond his revenge.” Of Koslov, Phillips felt that “hints of more
complex disillusionment and guilt” seemed “sudden and not wholly explored, and
the peak emotional moments verge on the melodramatic.” She concluded, “In claustrophobically
bringing us close to a character defined purely by his grief, ‘My Eyes Went
Dark’ at once presents us with too little and broadcasts too much . . . . Such missteps are dramatically felt in such a
trim production.”
In Time Out New York, Helen Shaw characterized My Eyes as “a fragmented and disturbing”
rendering of the “barely fictionalized account of” Kaloyev’s story. She found the play “upsetting for its content”
and added that she felt “Wilkinson’s use of these events is troubling,
particularly since he ends his drama on a sudden note of sentimental uplift for
the killer, with a soaring soundtrack and heavenly overhead light.” Shaw complimented “the superb, chameleonic
Thusitha Jayasundera” and reported that she and Conlon “stalk each other up and
down a tiny alleyway between two banks of seats, so we’re painfully close to
their screaming and anguish.” The
playwright, affirmed the TONY reviewer,
has a “precise ear for dialogue [that] makes his succession of brief scenes
convincing, and My Eyes Went Dark has power as a high-intensity
acting showcase.” She complained, though, that “there’s too little analysis of
the mechanisms of revenge and forgiveness. Instead,” Shaw objected, “the play offers
intense, histrionic moments that we thrill to as voyeurs, not as thinkers.” She concluded, “Actual grief and actual murder
are repurposed for our dark entertainment, and there’s something ugly in that.”
Talkin’ Broadway’s Howard
Miller, calling Wilkinson’s play “wrenching,” labeled My Eyes Went Dark a “story of trauma and revenge” with Koslov, played
by Conlon “with a laser-like intensity” and Jayasundera bringing all the other
characters “fully to life by instantaneously changing her demeanor, accent, and
vocal expression.” Miller reported,
“These two finely wrought performances are honed to a sharp edge by”
playwright-director Wilkinson. The TB review-writer concluded that My Eyes “makes for a most unsettling
evening that raises at least as many questions as it addresses.” On Broadway
World, Marina Kennedy characterized the play as “emotional,
thought-provoking drama” and “a very timely piece of theater that examines a
tragedy from a rarely seen perspective.” She declared Conlon (“an
evocative, heartrending performance”) and Jayasundera (“swiftly and precisely
assumes her roles”) “extraordinary acting talents.” Kennedy’s final analysis was that My Eyes Went Dark “is an intriguing play
that will surely captivate metro area audiences.”
After reminding us that Spaniard Lope de Vega, Shakespeare’s
contemporary, “said all you need for theatre is ‘three boards [or four: sources
vary], two actors, and a passion,’” Samuel L. Leiter asserted on his blog,
Theatre’s Leiter Side, “That seems
the guiding aesthetic behind My Eyes Went Dark.” Leiter
admitted that though the play, “as dark as its title, was very warmly received
when performed” in London, “for all its potential, it left me cold.” My Eyes Went Dark unfolds “in an
episodic, sometimes elliptical, at other times straightforward manner,” affirms
Leiter, complaining, “Sincere as all this is, and significant as are its
concerns with vengeance, forgiveness, guilt, and responsibility, the cool,
quiet, low-keyed, soporifically paced production sometimes almost made my own
eyes go dark.” The TLS blogger
praised Jayasundera for her versatility, but complained that “it would help if
Wilkinson’s approach weren’t quite so austere and he offered some small clues .
. . to each of her roles instead of making it a guessing game.” Conlon, Leiter found, however, “is less interesting;
an obviously polished actor, he nonetheless seems too dryly removed for a man
so consumed by sadness and anger.” Like
me, this reviewer felt, “When [Conlon’s] emotions burst out they seem more like
theatrical displays than organic expressions.”
The production, Leiter reported, depended on Pappenheim’s “exceptionally
expressive sound design” and Griggs’s “nice moody lighting effects.”
On Theater
Pizzazz, Carole Di Tosti dubbed My Eyes a “taut drama” that Wilkinson
has written and directed “with thoughtful precision.” The TP review-writer reported, “The
production is a performance tour de force,” but warned, “You will have to
fasten your seat belts to follow the opaque, tense, and emotional journey.” Di Tosti deemed “Koslov’s journey . . .
frighteningly real,” finding that “the playwright drives the themes unbearably
close to home,” creating “an intriguing mental exercise.” She declared “the play’s power and dynamism
are trenchant,” resulting in “an exceptional achievement in a production that
is stylized and expressionistic.”
After we left the theater,
talking about what we’d witnessed, Diana reread some of the review quotations
on the promotional post card 59E59 had sent out. This is what had intrigued her enough to call
me that afternoon. Some of the notices
cited were from the London or Edinburgh performances, and Diana wondered how
they could record the reactions quoted when we both had found the production of
My Eyes Went Dark so disappointing.
I suggested that we didn’t actually know what the passages excerpted had
meant in context in the reviews from which they were drawn. (When I quote from reviews in these play
reports, I try very diligently not to misquote any writer or to take
passages out of their intended context.)
When I got home, I decided to look up some of the published notices on
line and see how they were quoted for the promotion. One quotation, identified as Time Out,
read: “a great, harsh modern tragedy.” I
quickly found that it wasn’t from Time Out New York (whose review I
quoted myself above), so I looked for the U.K. editions of the magazine.
I found two publications with
reviews of My Eyes: Time Out London and Time Out Edinburgh. Neither has a line like the one in the
promotion. The London edition had a headline
that reads: “A great new tragedy from writer Matthew Wilkinson” (the
underlining is mine) and the Edinburgh review contains the lines: “it’s
practically Greek on the tragedy scale,” “‘My Eyes Went Dark’ is a tragedy
that looks at human beings’ inherent need to exact revenge,” and “[Thusitha
Jayasundera] is excellent, providing both humanity and a harsh
calculated bureaucracy.” That’s the
closest I could come to words approximating the blurb. I’m not prepared to call the advertising
dishonest, but it certainly gives a wrong impression.
The quotation attributed to
the Guardian, “brilliantly acted, meaty, tense drama . . . an extremely
powerful play about justice, revenge and forgiveness,” was slightly more
accurate: I found the second half (after the ellipsis) in the on-line edition
of the review, but not the first part. Now,
maybe the on-line versions of these publications vary from the print editions,
and maybe someone just made . . . well, “mistakes” (as ironic as that word is
here), but that doesn’t prevent the promotional campaign from being misleading. (New York has a law to prohibit blatantly
quoting reviews out of context. During
the 1984-85 Broadway season, Lawrence Roman’s Alone Together was fined by
the city’s Department
of Consumer Affairs because of
just such misuse of quotations in its advertising.)
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