There’s an intriguing, if brief, perspective on the Russo-Ukrainian War in this show that British mainstream media has summarily failed to pick up on: what of the plight of ordinary Russian citizens who do not support the war but are unable, for whatever reason, to escape? For Lilia (Irina Seleznyova), who runs a Ukrainian restaurant, the silent majority should do better. Vera (Anastasia Aush) counters that it isn’t as easy as that – after all, faced with the power of the Russian authorities, can they really be considered part of the problem?
Lilia becomes, in a word, busy. After the 2022 invasion has taken place, the restaurant she runs (but doesn’t own) becomes extremely popular. Trade is booming and the restaurant is also doing what it can to support those affected by the escalation in a conflict which began in 2014. It’s also riding on a wave of public support in London, and while Lilia stoically takes on the additional workload, it eventually takes its toll, resulting in the show’s critical incident, which unusually for a contemporary play, doesn’t happen until minutes before the end of the show. On one level, it seems a little heartless that her boss hasn’t checked up on her after three days of not being at work, but I think it’s credible. The team really was that busy at the time, which makes a rather abrupt dialogue with Vera also very believable.
This was an engaging production that attempts to capture a portrait of life within a relatively narrow window of time. The ladies’ perspectives are front and centre, with male supporting characters in the form of Vitalii (Aaron Vodovoz), Lilia’s son, who often calls (that is, on the phone) but rarely visits, and Vera’s love interest, Toby (Alasdair Linn). The pair met at the theatre, which Vera doesn’t often attend, but she went one evening because her mother had bought her a ticket to see something of interest as a birthday gift. The subplot blossoms into a convincing relationship, fraught with life’s imponderables, career trajectories and a credible possibility that theirs isn’t necessarily going to a fairytale ending for them.
Some video projections couldn’t be seen properly, at least not from my vantage point, thanks to a bright light in the centre of the stage as well as some set pieces that stayed in position. Shoving set off-stage and back on again can be in itself distracting, but this needs to be thought about, particularly as the storyline was easy enough to follow even without the full benefit of the videos. It’s good to assume no prior knowledge of the wider socio-political events of the time in which the play is set, but we are talking about three years ago, and a war that is still going on at the time of writing.
An incredibly balanced piece of theatre, this production tries diligently to portray different perspectives not only of the war, but on the way in which daily living must and does continue irrespective of what is happening elsewhere. The characters are pulled in various directions and their stresses and strains are very palpable. This thoughtful and nuanced play refused to preach about the subjects it covers, which made it appealing despite the harsh realities of life being relentlessly portrayed.
Review by Chris Omaweng
A street in Bayswater, London, 2022. A Ukrainian restaurant. A woman who migrated in her twenties and found family. A Russian shop. A woman who struggles with family and doesn’t want to work the rest of her twenties in hospitality. To what extent does the political have to touch the personal?
Anastasia Aush – Vera
Irina Seleznyova – Lilia
Alasdair Linn – Toby
Aaron Vodovoz – Vitalii
Written and produced by Alexandra Shaw
Directed by Konstantin Kamenski
Production Design by Hollie Cohen
Costume Design by Sasha Bobkova-Cruft
Sound Design by Ilya Avrutine
Graphic Design by Rachel Yen
NEVER LIES
Drayton Arms Theatre
22 and 23 June 2025
