STAIRWAY TO NOWHERE

For nearly two seasons, the State Academic Musical Theatre has engaged in a candid dialogue with teenagers, their educators, and parents about the devastating impact of drugs. The production The Unknown Staircase, directed by Muhammed Abdullayev, narrates the tale of a young man ensnared by drug addiction, conveyed through the unique stage language of classical dance and the expressive, plastic interplay of its characters.

From an Upside-Down World

A youth, portrayed by Muhammed Abdullayev, succumbs to drug addiction under the sway of his peers, including a young woman, Victoria Shahmuradova, whom he loves. His potion-dulled senses cannot grasp the world's objective reality, trapping him in a realm of distortions, unable to discern the real from the illusory. To emphasise this concept, the director and set designer, Vusal Rahim, draw inspiration from Pablo Picasso's work, artistically representing the protagonist's life space in a topsy-turvy fashion. Thus, both the chair and the bed are mounted on the ceiling, yet also reflected on the stage floor beside a mirror. This mirror compels our protagonist to confront not only his physical appearance but also his soul, peering into the realm of true perception he revisits after each narcotic haze. In these lucid moments, he recognizes that drugs obliterate not just the joy and sensation of life's flow but his very being—physically, morally, and spiritually.

The protagonist's alter ego, played by Roman Krasnov, persistently challenges his masculine resolve and integrity, luring him with the deceptive allure of a life shrouded in narcotics. Faced with a choice between the mirage of self-deception and authentic existence, the Young Man confronts a world where illusion masks the ugliness of reality: feminine beauty and the false freedom to flout moral constraints seem enticing. Yet, in this realm, the sense of self is lost, diluted in a sea of similar faces marked by overt aggression—an embodiment of malevolent forces, as envisioned by the director, where individuality and the notion of personhood are non-existent.

Into the World of the Self

Upon realising the permanence of his narcotic escapades, the protagonist summons the fortitude to introspect, to delve into his soul and intellect. This introspection leads to an epiphany: life, free from drugs, is superior, more captivating, and essential. Muhammed Abdullayev's character demonstrates remarkable strength, severing ties with his drug-addled companions, renouncing substances, and urging his partner to emulate his decision. However, she resists vehemently. Victoria Shahmuradova masterfully embodies a beguiling temptress, wielding her persuasive prowess. Her character, symbolizing the charm and magnetism of malevolent spirits, clings to her lover, unwilling to release him from their shared addiction. Nevertheless, she must choose: persist in addiction or, inspired by her beloved, abandon drugs and reclaim authentic life and love. Ultimately, love for humanity prevails, and she overcomes her lethal habit. Transformed, she exchanges her dark attire for white and joins her partner in their journey. Though it's their initial ascent on the enigmatic staircase known as Life, subsequent steps await them… We all recognise a fundamental truth, one that has long stood unquestioned: the journey of life is a solitary road.

A Global Concern

In a subtle, expressive, and dynamic manner, through the mediums of plasticity, gesture, and classical dance, the Theatre initiates a conversation with its audience. Captivating them with the enchantment of dance, it imparts the significance of retaining one's humanity—autonomy and the liberty to navigate the steps on the enigmatic staircase known as Life. For it is only through the authentic experience of life that one can preserve oneself for grand endeavours and accomplishments. Drug addiction, conversely, reduces an individual to a dependent, joyless existence, stripping away autonomy and uniqueness.

The theatre boldly addresses this issue, deeming it relevant. Amidst all of humanity's vices, chronicled since antiquity and documented in holy texts, a new scourge has emerged: drug addiction.

Hence, the inquiry was directed to Muhammed Abdullayev, the director and lead actor of the play: was the theme his brainchild or a directive from the management?

"This issue has preoccupied me for quite some time. It evolved into the focus of my academic research. It's a dilemma of global proportions. We're compelled to discuss it; silence is not an option. I proposed this concept to Ali Gismat Lalayev, the director of our theatre, who endorsed my vision to craft a performance rich in movement. His encouragement of experimentation and the creation of novel, intriguing works is pivotal for both our artistic evolution and personal growth."

Reflecting on the words of this promising individual, I contemplated the crucial nature of synergy between leadership and staff within cultural and artistic entities. It's imperative to foster, cultivate, and support the ingenuity of emerging talents. This ethos is exemplified by the State Academic Musical Theatre, earning it both respect and admiration. For prohibitions risk not only a regression to bygone eras but also the shattering of human fates. It's debatable which outcome is more daunting.