After last night's one-man show by Andrei Malaev-Babel as his grandfather, the legendary Russia writer Isaac Babel, audience members lined up for the actor's autograph. Malaev-Babel's performance of Babel: How It Was Done in Odessa took place in a very small room that was filled to the rafters with Russian teachers attending the national American Association of Teachers of European Languanges convention in Washington. The room was so full that I had to share a small shelf with a teacher from Boston, who told me she had flown down just for the show. As we were pressed into our little box, I thought of the old Russian saying: "Close together, but no offense."
The audience seemed a little disappointed that the main event was perfomed in English (due to a misunderstanding, apparently), though it certainly made it easier to follow with my basic/intermediate language skills. Malaev-Babel redeemed himself at the end with a short recitation in Russian, that was a big hit.
The stories in English were Di Grasso from Stories 1925-1938; How It Was Done in Odessa from The Odessa Stories; and Guy de Maupassant also from Stories 1925-1938. The final scened in Russian was set in a Jewish cemetery, and a meditation on death. It received warm applause.
Malaev-Babel's performance is a very Russian-style evening, evidence of his training at the Schukin School of the Vakhtangov Theatre Institute in Moscow. He takes Stanislavsky and Danchenko's commitment to artistic truth as his own. For some Americans, the style might seem a bit slow, but to this viewer it seemed just right--free of cheap theatrics and antics that clutter up too many stages nowadays. It was a classical rendering of a classic set of tales. The tragic fate of Babel, shot on Stalin's orders, was known to this audience, which gave the evening a poignant and soulful quality. And Babel's Jewish themes made for some appropriate Hannukah entertainment.
In the question and answer session afterwards, Malaev-Babel came across as a charming and thoughtful actor-director, dedicated to his art, his family legacy, and to truth. When asked how come he went into directing, he modestly answered that it was his teacher's choice. "You are too smart to be an actor," he was told, "actors are dumb." Malaev-Babel said he disagreed with that viewpoint, but he went ahead and became a director anyhow.
Next for Malaev-Babel's Stanislavsky Theatre Studio--Dostoevsky.
