Lenin's Embalmers

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Lenin's Embalmers

at the Ensemble Studio Theatre

Reviewed by Karl Levett

March 09, 2010

Photo by Gerry Goodstein

Who would have thought that a play titled "Lenin's Embalmers" would be so lively? Canadian playwright Vern Thiessen's take on history is a remarkably frisky one as he tells the tale of Boris Zbarsky and Vladimir Vorobiov, the two scientists chosen by Stalin to embalm Lenin after his death in 1924.

Stalin's orders were simple: "To keep the dream of the revolution alive" and "Immortalize Communism!" The two embalmers, who are coincidentally Jewish, know that they must devise something never achieved before, with the rewards of power and wealth if successful or elimination if they are not. Based on the book of the same title by Boris' son Ilya and Samuel Hutchinson, Thiessen's rendition of events is initially playful, skipping through detailed exposition with intelligence and humor. Even as the play darkens and the monstrosity of Stalin's totalitarian state is revealed, the drama is never less than engrossing. While Thiessen's concept of history is entertainingly theatrical, it also seems oddly authentic in director William Carden's first-class production.

Stalin's nervous assistant Krasin (James Murtaugh) announces Lenin's death—"A stroke, perhaps brought on by a large bullet"—and seeks out provincial Boris (Scott Sowers) for the embalming. But Boris knows that the only possible scientist who could do the job is his old combatant Vlad (Zach Grenier), who has accused Boris of stealing his research. Lured by fame and fear of death, Boris and Vlad become unlikely partners, a kind of Soviet version of the titular characters in "The Sunshine Boys." Stalin (Richmond Hoxie) walks around shouting "Be quiet or I'll kill you!," while Lenin (Peter Maloney) will not stay dead, returning as a lurking ghost, telling jokes and dispensing wisdom. With the successful embalming—seriously portrayed with the help of Chris Dallos' lighting and Shane Rettig's imaginative sound design—Vlad and Boris are top of the heap. But thanks to Stalin's growing paranoia, they begin the slide to oblivion.

Under Carden's assured direction, the play's mix of comedy and drama is never a problem in this fluid production, aided by the simple but mobile set from Mikiko Suzuki MacAdams. Likewise, the actors shift easily from comic moments to stark drama. Grenier's Vlad, a victim of arrogance and alcohol, and Sower's weaselly Boris are both strangely real, while Hoxie's Stalin effortlessly glides from caricature to grim dictator.

"All the women in this play are called Nadia," says Polly Lee, who plays them all with comic versatility. But it is Maloney's charming Lenin, not looking anything like the Vladimir of history, who best distils the impish character of this unusual and original play.

Presented by and at the Ensemble Studio Theatre,

549 W. 52nd St., NYC.

March 8–28. Mon., Wed.–Fri., 7 p.m.; Sat., 2 and 7 p.m.; Sun., 3 p.m.

(212) 352-3101, (866) 811- 4111, www.theatermania.com, or www.ensemblestudiotheatre.org.