THEATRICAL PORTRAIT

The essence of theatre begins with the director. This thought crossed my mind during a discussion about a repertoire performance at the Musical Comedy Theatre. The play wasn't a premiere, but it sparked conversation nonetheless. I was invited to this event, having seen the play twice before. The action unfolded on a small, improvised stage, or more accurately, a larger stage transformed into a smaller one.

The presentation style employed by Irada Gozalova, the director of Lara Martin's Jazz Club, was based on Ostrovsky's play Bespridannitsa, unconventional and thus sparked debate. It was even somewhat empathetic. Watching the premiere, I was struck by the director's bravery in accepting and supporting such a staging. As the actors later informed me, director Aligismet Lalayev is not just a creative individual, but a leader open to innovation, including experimental approaches to fostering a modern, sustainable dialogue between the theatre and its audience.

This openness is why productions like this one, as well as Irada Gozalova's English play My Mother's Book by Jalil Mammadguluzade, and choreographer-director Muhammed Abdullayev's physical performance Unknown Staircase appear in the theatre's repertoire. The target audience for these productions is teenagers and older, tackling themes such as drug addiction.

Candid conversations

During that day and the following week, the theatre's hall hosted discussions about repertoire performances. They included actors from the troupe and a specially invited theatre critic from Moscow, Alisa Litvinova. Frankly, this practice is unprecedented in Baku's theatres. To undertake such an initiative, considering the potential for bruised egos among actors and directors, requires a strong, independent character and a fierce, selfless love for the craft. Aligismet Lalayev belongs to a category of professionals who serve the theatrical art with a faith and devotion that transforms a theatre from a place for watching performances into a theatre as a temple of art. It's no secret that over time, actors and directors can develop clichés. Unfortunately, they often fail to recognise this, and some even choose to ignore it. It's far more comfortable to follow the well-trodden path, where everything is already tested and known, including audience interaction methods. However, it was important for Lalayev to give his actors and directors a chance to look at themselves from the outside, not through the eyes of an amateur, but a professional critic. Throughout the week, there were open and honest conversations lasting 2-3 hours each day. These professional debates proved beneficial and intriguing for both parties. The outcome: the Russian critic learned of the "ethnic peculiarities of a modern Azerbaijani woman living in a metropolis", while the actors recognised the need for a detailed study of human character. In this context, the most important thing for Lalayev as a director was to ensure that his actors and directors comprehend how their professional activities are perceived and interpreted by someone with a different cultural mentality.

From that moment on, my perception of the man I had known for many years as the director of the State Academic Musical Theatre and simply a friendly and affable person began to shift. His formal status of director receded, replaced by a fascination with his individual personality.

Running a theatre

The theatre has a staff of 400 people, but only 460 seats. This means that the director of the theatre, who oversees the daily creative and production processes, has to deal with a large and diverse group of people with different backgrounds, personalities, and skills. They work in the technical and artistic departments of the company, which consist of four ensembles: the orchestra, the chorus, the dance company, and the actors. To manage such a huge team, and to keep the building in immaculate condition after the renovation in 2013, the director needs to have a strong character, psychological skills, and be an undisputed leader for all his subordinates. Without exception!

Aligismet Lalayev, Honoured Art Worker, Honoured Worker of Culture of Azerbaijan, PhD in Art History, Associate Professor, and Director of the Theatre, successfully combines the talents of a creative artist and a manager in his service to all the theatrical muses. He has gone through all the stages of professional and personal growth, starting his career as a stage director in the Nakhchivan Musical Theatre. He graduated from Mehdi Mammadov's directing class, and he never regretted choosing that path, instead of staying as a lab assistant at the Department of Directing, as he was offered by the Institute of Arts.

Years later, after providing public services not only in the theatre, but also in administrative positions, he turned down attractive offers to work as a stage director in Türkiye and Iran, believing in what he did. He considered it a betrayal of his hometown, of his beloved country, of everything that he cherished and valued. He lived by the principle "You don't abandon or betray your own". He was right: the country needed people like him, who were creatively passionate and restless. Thanks to his wise leadership and competent repertoire policy, the theatre's staff performed in Russia, the US, Türkiye, Georgia, Iran, and Belarus. He himself was a respected member of expert groups and professional juries at various international theatre festivals and competitions in Georgia, Belarus, Russia, Iran, Türkiye, and Uzbekistan.

Everyone knows Stanislavsky's statement that theatre begins with the coat rack. But time changes things. And I dare to say that today's theatre begins with the director. Because he is the one who initiates, motivates, and guards the process called Creativity. And tradition. And if creativity is not driven away from the stage in favour of a fleeting replacement of true art with false art, then such a theatre is doing well. Because it has a future. The theatre led by Aligismet Lalayev has great prospects. Because here, from the security guard at the service entrance, to the ushers in the hall to the director, they know the true value of everything flashy and showy. That's why they maintain a position of sincere, honest, and open relations with their audience. The theatre remains a temple for art, and everyone who served the idea of the theatre as Art during the theatrical season, who demonstrated their professionalism and revealed new aspects of their talent, received an award by the decision of the artistic council. The artistic staff was awarded the Crystal Apple Prize, the technical staff - a cash prize and diplomas. And this was also the director's idea implemented with the support of the theatre's artistic council, which, under the guidance of director Aligismet Lalaev, carried out the artistic management of the creative process and regulated the theatre's repertoire policy.

Once, having learnt about his directing activities, I asked him if he had any unfulfilled dreams of staging a play. When I heard back that it was Chekhov's The Cherry Orchard, I remembered someone's phrase about the imperishability of Chekhov's legacy. But in order not to leave him with sad memories of what did not come true, I immediately asked him what he dreams of today? "I dream of creating and opening a musical theatre in Khankendi! And I know how to gather all the necessary groups for such a theatre and where to get creative forces for this...".

When I heard about Khankendi, I thought that nothing is impossible and this dream could very well become a reality.

We wish good luck to the personnel of this theatre and their director in 2024! Good luck, health, full halls, peace to our land and to the whole world. May all dreams come true! Even the most fantastic ones.