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The Burning Gadulka at The Etcetera Theatre – Review

The Burning GadulkaIt turns out that while you’re supposedly a musician, you can’t play anything nice by yourself. This, in turn, weighs badly on your self-esteem and throughout your whole life you can never shake the feeling that you’re a total zero without the others, and that you constantly need their help.

The gadulka in The Burning Gadulka, or indeed anywhere in Bulgarian society, for those as uninitiated as I was before seeing this show, is a string instrument, held vertically, with three strings. Miroslav Kokenov, the sole actor in this intense production, sets about explaining the place of the gadulka at an individual, local, national and international level. I’m still undecided as to whether it genuinely does sound awful (yes, the audience is treated to some gadulka playing) or if I was conditioned to think so beforehand by a long and depressing preamble, in which it is explained, in some detail, and with examples, how the gadulka has led to unhappiness in this professional gadulka player’s life.

At least twice, the musician barks directly at his instrument: initially I thought this ranting at an inanimate object is surely a sign of some form of madness. But I’ve called my computer a ‘stupid machine’ before, and sworn at a self-service checkout at the supermarket – and, on one of my first occasions to use one, said ‘thank you’ to an ATM. Anyway, I mention this being a solo performance as the show draws attention to the gadulka really being an orchestral instrument. On its own it sounds terrible. As part of a Bulgarian folk orchestra, along with everyone else, it blends into the overall sound.

“I steadfastly believe in the ensemble,” the musician tells the audience. I steadfastly believe in them, too (take them out of musicals and the live theatrical experience is much diminished), but in a solo show, it only begs the question: where are they?

There’s a whole backstory as to how this musician ended up a gadulka player – the long and the short of it seemed to be that somebody had to be. But as the complaints stack up, the line of argument seems a little like the violin player who felt the brass section in the orchestra he plays in should get paid less – that is, musicians should be paid by the note (whatever that means – some notes are longer than others, and so on and so forth). I do, however, have some sympathy with Mr Gadulka (as I shall call him), particularly when he talks about the computerisation of music, whereby the technology now exists for software to ‘play’ any instrument. It could, taken to its logical conclusion, spell the death knell for orchestras everywhere.

It’s a sparse set, with few props, one of which is a giant panda, for quite charming reasons, or rather a charming reason, which is explained during the course of the evening’s proceedings. Mr Gadulka tells his story by thinking out loud, as opposed to relentlessly sticking to the subject of the gadulka. It’s like a stream of consciousness that comes across as though improvised, or at least semi-structured (the play is, in fact, fully scripted in the conventional manner). In that regard, it’s not so much the gadulka that’s literally ‘burning’ as the gadulka player, figuratively speaking.

As times are a-changing, the play asserts that the Bulgarian folk orchestras are worthy, if such a thing were possible, of being placed on an equivalent list to WWF’s ‘endangered species’ directory. I don’t think the play will change anyone’s minds, at either a micro or a macro level. The modernists will continue to think we should move with the times and embrace the twenty-first century. The traditionalists will insist that hundreds of years’ worth of folk music can and should continue. For my part, if his instrument is seriously as dreadful as Mr Gadulka says it is, perhaps it is best consigned to history after all. To put it another way, I wasn’t sold on the old gadulka.

Still, it’s easier said than done to embrace change. The play does provide an intriguing insight into Bulgarian living, delivered at an appropriately brisk pace. Albeit mostly of a sarcastic and slightly bitter variety, there’s humour to be found in this touching production. A worthwhile experience.

4 stars

Review by Chris Omaweng

With humour and sarcasm, the musician tells a story about his relationship with the Gadulka. An instrument often overlooked and unremarkable in its appearance, it is in fact, the backbone of the Bulgarian folk orchestra. By blaming the Gadulka and undermining its functionality and significance, the Gadulka player reveals the similarities between himself and the instrument. He takes us on a journey through the mysteries and fear we all face on a daily basis.

The performance is inspired by Bulgarian culture and reveals to the audience the characteristics of Bulgarian folklore, traditional dances and costumes.

28th January at 4.30PM
Etcetera Theatre
265 Camden High Street
London NW1 7BU
Image from http://gadulka.net/

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1 thought on “The Burning Gadulka at The Etcetera Theatre – Review”

  1. Universal issues through the light of the regional traditions and music. “The Burning Gadulka” is taking us on that passionate journey. The issues of blame, of self pity, of inability to move with the pace of technology, of relationships with the other gender. The author may as well have chosen a chair or a pen to lash out his inmost anger, dissatisfaction, interpersonal inadequacy. The object is a mere symbol of all our hidden enemies.

    For a while, my “Gadulka” were my parents. Only if they’d not argued so much, if they’d not split up, if they’d not sent me to live and study alone at 13 years of age… I would blame them for all my struggles, all my miseries. Then I grew up and met people with perfect families, who were going through the same struggles and so I snapped out of the blame game and managed to get a grip of my life. But not many manage to do so. I wonder what’s your “Gadulka”? Do you also use alcohol to run away from it all? Do you use all sorts of excuses, outside of your control or buried into the past, for your failures today?

    When the “enemy” is removed and the Gadulka is smashed into pieces, we see our hero alone with all his personal issues unresolved, waiting for a girl who will never come. Was she pushed back by the instrument? Was her cheerful smile and positive worldview silenced by the screeching of the Gadulka? Would she have liked him better in a suit? We see that she didn’t, as you have seen in your very own experiences. People have a unique way to see beyond the cover and pierce into the depths the others’ self worth.

    Then the plot uncovers the issue with technology replacing so many jobs, crashing traditions into pixels. The Gadulka player is extinguishing and computers play forever finer tunes. The folklore ensembles breathing their last breaths with last standing members who have no one to hand their skills over to. Some get by from one concert to another, making ends meet, just! Most, however, emigrate and abandon their instruments to the insects. I never had the perseverance it takes to master an instrument, but I’ve heard it takes years of excruciating labour. It’s like a child that you have brought up with so much care, such efforts and pain. Now seeing it’s all been in vain, must be heart breaking!

    As a software developer, I can’t help but favour the technological advancements. But as I heard Miro Kokenov play on stage the tunes of my childhood, saw the symbol of my nationality, the folklore of my ancestors, the national dress of my grandfathers, the dance I have danced with a joyful heart, a sinking realisation dawned on me that I’m losing it all irreversibly. And I cherished ever more that precious hour I spent at the performance. And I hope the English audience will take this last chance to savour the Bulgarian culture.

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