“The impulse of fortitude”

I was invited to an open rehearsal by the show’s creators: Serhii Proskurnia, screenwriter and director; Volodymyr Lavrenchuk, composer; Tetiana Kalynychenko, conductor; Ivan Lenio, leading actor and frontman of Kozak System, and others.

“It all started during the Revolution of Dignity,” says Kalynychenko. “That was the time the first song was written. Volodymyr Lavrenchuk played it to me in chamber version and asked if we can do something with it. I consulted my friend and colleague, pianist Roman Riepka. We decided to work with it. Then there were several more instrumental and vocal compositions on the Maidan. Artem Roshchenko made arrangement for them. Then we made a studio recording. And after that came the idea to create a full musical on this basis.”

“What we are now doing,” continues Lenio, “is conscious Ukrainian patriots’ reflection on the events that are unique to Ukraine. We believe that Maidan should be remembered not only by photos and films – it has to carry on the ‘infection of freedom,’ the impulse of the nation’s fortitude for many years to come. I am sure that when we put our rock musical at the stage, it will become a real phenomenon of modern culture.”

So far, the fragments presented to media allow for few conclusions. The work continues. Of the two planned parts of the show, the authors envisage more or less clearly only one...

The story has Ivan Lenio, a frontman of a rock band (he plays himself) meet a journalist and volunteer Melanka (actress Anastasia Styrova) on Maidan. They are opposed by “titushky,” the leader of which is embodied by a famous actor Dmytro Linartovych. The theme of love between characters intertwines with that of the struggle for the people’s happiness...

“Maidan is a painful topic. The show is just being born now,” says Proskurnia “You saw several fragments, including our ballet (“titushky” dancers). These artists are ready for acrobatics. With the choreographer Anatolii Frolov we picked artists who are capable of not only singing, but also of doing a somersault.”

The choirmaster Anzhela Maslennikova works with singing grandmothers, the youngest of whom is 65. High-quality audio comes from sound engineers Oleksandr Kurii and Ihor Hromadsky.

At the rehearsal, “The Voice of Maidan” (Yevhen Nyshchuk) was absent, his text was read by Proskurnia. However, the director assures that “Yevhen is the red string that connects all the aspects of the performance. We will have three main roles: Lenio, Melanka, and Nyshchuk.”

So far, the show raises many questions. The very topic, that is so sensitive for the Ukrainian community, poses the risk of indulging into cheap theatrics. I’d like to hope that this will not be the case, especially regarding the professional team of directors.

“Maidan and the story about it will end in the first part. This is the main plot twist,” Lavrenchuk says.

Proskurnia reveals that “in the second part we will try to look into the Ukrainian future.”

“One of the reasons to make Got to Be Free (which is the name of the future rock musical) is to prove that Ukrainian product has its demand,” says the composer. “We are looking for a suitable space to stage a real show. There is a negotiation process going on...”

The premiere of the rock musical Got to Be Free is scheduled for the autumn. The intrigue is set. Now comes the first Ukrainian rock musical on Maidan.