DATELINE NEW YORK: Ukrainian mythology comes to life (07/07/96)

DATELINE NEW YORK: Ukrainian mythology comes to life

by Helen Smindak

The renowned Ukrainian poet and dramatist Larysa Kosach-Kvitka, perhaps better known to us by her pen name, Lesia Ukrainka, loved folklore tales and legends of water nymphs, forest spirits and fairies. That mythology from her childhood in Ukraine's Volyn province was woven into her crowning achievement, "Lisova Pisnia" (The Forest Song), a fairy drama in three acts.

The romantic drama was brought to life in two vivid and poignant presentations one recent weekend by the Ukrainian Stage Ensemble, which has been masterminded by the gifted director Lydia Krushelnytska for the past 30 years.

Staged in the intimate setting of the Sylvia and Danny Kaye Playhouse at Hunter College on Manhattan's Upper East Side, "The Forest Song" celebrated three anniversaries - the 125th anniversary of Lesia Ukrainka's birth, the 30th anniversary of the Ukrainian Stage Ensemble, and the 45th anniversary of the Self Reliance New York Federal Credit Union, which sponsored the production.

"The Forest Song" combined the special talents of several New York personalities, a host of young amateur actors, and Mrs. Krushelnytsky's outstanding directorial abilities, adding up to a work of art that won praise and ovations from viewers and critics.

Many play-goers said they were overwhelmed by the breath-taking fairy-tale setting and costumes.

Ludmila Petrash, a visiting Air Ukraine pilot from Kyiv, expressed the opinion of others in the audience when she noted the pure, literary Ukrainian "spoken so clearly and audibly" by the actors.

In his review of "Forest Song" in Svoboda, Bohdan Boychuk pointed to the pleasing balance of several elements - direction, scenery, costumes, music and acting - an accomplishment one would not expect from an amateur ensemble.

The fantasy technicolor stage effects achieved by Vladyslav Klekh with fairy-tale sets, imaginative costumes and ethereal lighting were indeed out of this world. Mr. Klekh, who has been a set designer at the Metropolitan Opera for many years, made striking use of painted scrims, those transparent theater drops, to form a spectacular setting that had both breadth and depth.

Massive trees covered with dropping vines and moss formed the prominent feature of the set, which remained in place for all three acts. With appropriate lighting changes, the mise-en-scene was a sun-dappled glade, a somber forest peopled with water nymphs and demons, or a secluded meeting place for lovers. At the beginning of Act III, blue-grey mists shrouded the stage, reflecting the deep sleep of winter.

Ihor Sonevytsky's music added charm to the drama, sensitively interpreting the neo-realistic tone of the piece. There was a haunting Hutsul feeling to the melodies. Some of the music echoed actual melodies written down by folk-music historian Clement Kvitka, just as he heard them from the poet herself.

In the thespian department, Xenia Piaseckyj shone in the role of Mavka, the forest nymph who falls passionately in love with Lukash, a young peasant, played by Ivan Makar. As an expression of her love for Lukash, Mavka goes to live with human beings, even though she is warned by Lisovyk, the Forest King (Yarema Bachynsky), to keep away from human pathways because she will find "no freedom there, but woes instead."

Ms. Piaseckyj displayed a lyrical presence, revealing Mavka as she is faced with the shortcomings and suffering of everyday human life, which she cannot comprehend. She feels even more pain when Lukash succumbs to the wiles of the cunning young widow Kylyna (Melasia Sonevytsky), and is betrothed to the peasant woman.

The tragedy deepens and progresses, as do the seasons, illuminating a leitmotif of the drama - the philosophical principle that happiness in life is to remain true to one's own nature.

Mr. Makar, in his debut stage performance, made a very credible Lukash, a naive village lad who lets himself be pulled about like a will-o'-the-wisp.

Superb performances were turned in by Sophia Zielyk, as Lukash's stern mother, Ms. Sonevytsky, as the wily widow Kylyna, and Yaroslav Shul, in the role of Diadko Lev (Uncle Lev).

Adam Hapij was a bright and bouncing Perelesnyk, supplying balletic grace to the role of the demonic debaucher.

Outstanding performances were also given by Mr. Bachynsky, as the Forest King, Orest Kebalo, as the Rock Dweller, and Lesyk Kmeta, as Kuts, the Young Demon.

Ably supporting the cast were Tymish Hankevych (He who Rends the Dikes), Lisa Szonyi (Water Nymph), Taras Hankevych (Water King), Diana Yurchuk (Fever Demon), Yaryna Ferencevych (Field Nymph) and Nadia Dyba-Podoliak (Fate).

Children's roles were well done by Olenka Kebalo and Melasia Huryn, as Poterchata (lost babes and water pixies), and Maksym and Lilia Artymyshyn, as Kylyna's son and daughter. The roles of Zlydni (starvelings), were enacted by Taras Ferencevych, Adrian Berezovsky, Larysa Huryn, Andrea Kebalo and Alexander Mehrle.

Choreography was handled by Olga Kovalchuk-Iwasiwka, with final details turned over to Roma Pryma-Bohachevsky when illness forced Mrs. Iwasiwka to drop out, just weeks before the performance.

George Grechylo took care of the lights. The chamber orchestra which provided the background music comprised Andrii Milavskyj, clarinet; Volodymyr Vynnytsky, piano; Mary Mei, harp, and Gregory Burrows, percussion instruments. Christine Karatnycky was stage manager, with Dorian Yurchuk assisting.

More than 25 years ago, Mrs. Krushelnytsky saw another group of her proteges perform "The Forest Song", that time in 16 cities across the U.S. Now over 80, the indomitable director continues the work begun in New York by the noted actress and theatrical stage director Olympia Dobrovolska. Her charges are schooled in acting and Ukrainian-language diction, and are introduced to the work of the finest Ukrainian dramatists and writers.

Mrs. Krushelnytsky, who hails from Lviv, came to New York after World War II.

Surrounded by her present ensemble on the playhouse stage after the closing performance at Hunter College, Mrs. Krushelnytsky graciously accepted bouquets of flowers and standing ovations.

Later, at the Ukrainian National Home, she was the guest of honor at a reception attended by the entire cast, production associates and sponsors of "The Forest Song," and several former members of the Ukrainian Stage Ensemble.

Basking in the glow of their mother's triumph were Lubomyr Krushelnytsky with his wife, Oksana, of Chicago, and Mrs. Krushelnytsky's brother, Dr. Zenon Karatnycky, and a nephew, Dr. Adrian Karatnycky.

Congratulating Mrs. Krushelnytsky on a job well done, Dr. Bohdan Kekish, president of the Self Reliance Credit Union of New York, said he hoped the director would continue to produce stage programs for many years. Myroslav Shmigel, speaking on behalf of the United Ukrainian Organizations of New York, offered the suggestion that "if it weren't for Mrs. Krushelnytsky, a lot of Ukrainian young people would not be speaking Ukrainian."

Attorney Askold Lozynskyj, president of the Ukrainian Congress Committee of America, submitted warm wishes from the UCCA and from himself, a longtime member of the New York drama studio. He put out the thought that the Self Reliance Credit Union could not have chosen a better way to mark its anniversary than by assisting the studio, which provides so many benefits to its students.

Lydia Prokop-Artymyshyn, who took part in the earlier production of "The Forest Song," greeted her mentor on behalf of former drama students. "Now my children are members," she concluded.

Best wishes also came from Nadia Sawczuk, president of the New York Regional Council of the Ukrainian National Women's League of America, and Nina Samokish, president of UNWLA Branch 64, of which Mrs. Krushelnytsky is a member.

The evening's program and buffet supper were emceed by Lubomyr Zielyk, a member of the credit union's board of directors.

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