Nino Sadghobelashvili’s play is about Edith Piaf’s last days. The psychic condition of the legendary French singer equally reflects ghosts and real personalities, retelling about her talents, biography, fate and life.
Martin McDonagh’s “The Beauty Queen” is a psychological drama about the relations between an aged mother and her daughter. An Irish borough. Nobody wants to stay in a quiet but boring settlement - some seeks fortune in England or America, others suffer from everyday routine. An old woman scares stiff to stay alone while her daughter strives to live in America together with her sweetheart. It is so crucial for both… Where can this utmost tense conflict lead?A Lithuanian stage director Linas Marijus Zaikauskas presents this strained history and universal theme to the Batumi audience.
A woman and a man, Gloria and Ben. Ben kidnapped Gloria and dragged her into his lair. Yes, into his lair, as if Ben is a tiger and Gloria - his prey.Likewise, the title of Murray Schisgal’s two-character play, directed by Keti Dolidze on the “New Stage” in Batumi, is – “The Tiger”. The play touches upon numerous problems typical to the global world. We are leaving unanswered the question who will turn out to the real “tiger”.
The stage-director Nugzar Gachava revives Nodar Dumbadze’s world full of unique sorrow and humour. Tbilisi. An “Italian” – common yard in 1937. A Georgian-Armenian family. Vanichka is an Armenian man and his wife Aneta – is a Georgian woman. Aniko is their neighbor taking care of a small son alone. Repression suffers Aniko as well and she is sent to exile. Her last cry is to Vanichka, her neighbor, begging to take the son to her parents in Khoni.The performance tells about the subsequent events as to what will happen in 12 years’ time, what kind of Mitusha will return to Tbilisi and what new adventure awaits the young man.
A one-act tragicomedy “God of Carnage” is a widely acclaimed play written by Yasmina Reza, transformed by the Georgian director Giorgi Shalutashvili into the Georgian reality. Two families, two couples are introduced through the conflict between their sons. The 11-year-old schoolchildren quarrelled and now it is up to their parents to solve the disagreement. “I believe in the God of carnage, god of carnage has always ruled the world” – says one of the protagonists. It has the justification – the children’s quarrel will turn into a tense and neurotic conflict between their “civilized” parents. How? Why? For what reason? Maybe because the god of carnage is indeed the eternal problem of humanity? On the other hand, maybe, although we know or, pretend to know that war is a great tragedy, are still at war with one another. Here is when the complete absurdity begins. . .
The Golden Age of Georgia – the epoch of Queen Tamar’s reign. Amir of amirs Abbusalan summons several members of the majority from the royal court. A tense conversation takes place within a closed chamber; who will be brought to Tamar as a husband – banished Yuri Bogolubsky or a Greek Comnenos? In fact, it is an inter-political mercenary dialogue between the party members that is joined at the end of the play by the minority members as well. What will their resolution be? This is the story toled by the dramatist Guram Batiashvili and the director Zurab Sikharulidze at the new stage in Batumi.
Edvard Radzinsky’s “How to Murder a Man” deals with a complex and dramatic story of a man and a woman presented to the audience of the “New Stage” in Batumi in an interpretation by a famous Georgian stage-director Giorgi Margvelashvili.