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Musicaldaten
Titel:	Doktor Schiwago
Originaltitel:	Zhivago / Doctor Zhivago – A New Musical
Originalsprache:	Englisch
Musik:	Lucy Simon
Liedtexte:	Michael Korie und Amy Powers
Literarische Vorlage:	Doktor Schiwago von Boris Leonidowitsch Pasternak
Uraufführung:	2006
Ort der Uraufführung:	La Jolla Playhouse, San Diego
Ort und Zeit der Handlung:	Russland, 1914 bis 1930
Rollen/Personen
Jurij Andréitsch Schiwago - Arzt und Dichter Larissa Guichard - genannt Lara Viktor Komarovskij - Rechtsanwalt Pawel Antipov - genannt Pascha oder Strelnikow Antonina Gromeko - genannt Tonia Anna Iwanowna Gromeko - Tonias Mutter Alexander Gromeko - Tonias Vater & Ensemble

Doktor Schiwago ist ein Musical aus dem Jahr 2006 mit Musik von Lucy Simon und Texten von Michael Korie und Amy Powers. Das Buch stammt von Michael Wellerund basiert auf Boris Pasternaks Roman Doktor Schiwago aus dem Jahr 1957.

Produktionen

Das Musical hatte unter dem Titel Zhivago 2006 Weltpremiere im La Jolla Playhouse in San Diego, Kalifornien.

2011 folgte eine Tourproduktion in Australian unter dem abgewandelten Titel Doctor Zhivago – A New Musical mit Stationen in Sydney, Melbourne und Brisbane. Die Tour erhielt gute Kritiken.

Nach einer Produktion 2012 in Seoul folgte die Europapremiere im August 2014 unter dem Titel Doctor Zhivago im Musiktheater Malmö in schwedischer Sprache.

Anders als der englischsprachigen Produktion in Australien war der Broadway-Produktion kein Erfolg beschieden. Sowohl die Zuschauerzahlen als auch die Tonynominierungen blieben weit hinter den Erwartungen zurück, und die Spielzeit endete bereits nach 26 Previews und 23 normalen Vorstellungen.

Im September 2017 folgte die polnische Uraufführung in der Podlachischen Oper und Philharmonie.

Die deutschsprachige Erstaufführung fand am 27. Januar 2018 in der Musikalischen Komödie in Leipzig statt. Wegen des großen Erfolgs wurde das Stück im Herbst 2018 wiederaufgenommen.

Von September 2018 bis Mai 2019 stand das Musical auch auf dem Spielplan des Stadttheaters Pforzheim.

Ab 26. Juli 2019 spielt Doktor Schiwago bei den Freilichtspielen Tecklenburg erstmals Open Air.

Handlung

Die Handlung der einzelnen Produktionen weicht in einzelnen Punkten voneinander ab. Diese Zusammenfassung folgt der Broadway-Produktion und der darauf basierenden deutschsprachigen Aufführung.

1. Akt

Im Jahr 1930 stehen eine Frau und ein Mädchen am Grab des russischen Dichters Jurij Schiwago, während die Handlung knapp drei Jahrzehnte in die Vergangenheit zurückblendet, als der junge Jurij Schiwago im Jahr 1903 am Grab seines Vaters Abschied nimmt und das Ehepaar kennenlernt, das ihn als Waisenkind zu sich nimmt. Jurij freundet sich mit der Tochter des Paares, Tonia, an, die in seinem Alter ist. An einem weiteren Grab, etwa sechs Monate später, betrauert die junge Lara mit Ihrer Mutter den Tod ihren Vaters. Nach dem Begräbnis kauft Komarovskij, ein Freund von Laras Mutter, ihr ein Bekleidungsgeschäft, um für ihren Lebensunterhalt sorgen zu können. Laras Mutter weiß allerdings nicht, dass Komarovskij sich an ihre Tochter heranmacht, obwohl diese noch ein Kind ist. Die Kinder Lara, Tonia und Jurij fragen sich, was die Zukunft wohl bringen wird. (“Schwarzweiß")

Years later, in August 1914, Yurii has graduated medical school and is engaged to Tonia. A teenaged Lara has become involved with Pasha, a revolutionary with the Communist party, who asks her to hide his gun. We see Pasha and other student revolutionaries start a protest that is violently broken up by the police. Yurii rushes out to help the wounded protestors.

Meanwhile Lara, who has been coerced into becoming Komarovsky’s lover, is sick of being threatened by him and resolves to kill him. She hides Pasha’s gun in her coat and follows Komarovsky to Yurii and Tonia’s wedding, where Komarovsky gives a toast (“Komarovsky's Toast”). Lara tries to shoot Komarovksy, interrupting the festivities, but her aim is poor and she hits another man.

Yurii stitches up the wounded man and watches Lara and Komarovksy’s conversation from afar. Yurii is intrigued by Lara and wonders what her relationship to Komarovsky is, and why she would shoot him. (“Who Is She?”) After telling Komarovsky to stay away from her, Lara flees and Yurii confronts Komarovosky, who tells Yurii not to make an enemy of him.

A few weeks later, at Pasha and Lara’s wedding celebration, Pasha and his friends mock the tsar and dance. (“It’s a Godsend”) Later that night, Lara tells Pasha how she got involved with Komarovsky, and how she shot him because he acted like he owned her and wouldn’t stay away. She couldn’t keep living like that, and thought killing him was the only way she could regain control of her life. (“When the Music Played”) Lara then asks for Pasha’s forgiveness, but he rushes out in a rage. Lara goes after him and runs into Yurii; he gives her his umbrella. (“Who Is She? (Reprise)”)

At a train station, Yurii is saying goodbye to Anna, Alex, and Tonia before heading to the front as a field medic. He tells a worried Tonia that whenever she misses him, she should watch the moon and think of him, and that he’ll do the same. Time passes and Yurii sends letters to his family at home, telling Tonia that he is still watching the moon and thinking of her. (“Watch The Moon”)

It is now 1915 and the soldiers at the front are trying to hold the front. Pasha, a soldier on the front lines, is trying to convince other soldiers to join the Communist cause. (“Forward!”) The scene shifts to a field infirmary, where Lara is reporting for duty as a volunteer nurse. Yurii and Lara recognise each other, and she tells him that her husband’s letters stopped when he was serving in this unit, and she came to the front looking for him. Yurii thanks her for trying to shoot Komarovsky, saying that Komarovsky drove his father to suicide. They talk about Yurii’s poetry, and he reveals that his most famous poem was inspired by her. Yanko, a young soldier who is badly wounded, walks in and they attempt to treat him, pulling out the bullet. Yurii says that, by some miracle, the boy will live.

Back in Moscow, Tonia reads to her parents and infant son a letter that Yurii has written her; in it, he speaks of Lara and praises her.

In the field hospital, the nurses iron shirts and sheets and sing a folk song. The nurses tease Lara about her relationship with the doctor, and she says they're nothing more than friends. Yurii comes in and announces that the war is over. The nurses sing and dance in celebration. (“Somewhere, My Love”)

It’s October 1917 and the soldiers are trying to evacuate the lines in a supply train. Yurii, Lara and the other nurses are evacuating the wounded onto the same train. Lara and Yurii say goodbye and she tells him that she is not going back to Moscow, but moving to Yuriiatin, a small village in the Ural Mountains, where she was born. She also reveals that she was trying to find Pasha not because she loved him, but because she has done terrible things and doesn’t feel worthy of his love. Looking for him was a way of feeling worthy. Yurii tells her that whatever she did before is how she became who she is, and she’s a good person. Lara says they should say goodbye before they do something they’ll both regret.

Yanko rushes in, severely wounded, saying the Germans broke through the lines. He dies before they can do anything to help him. Yurii and Lara find a letter Yanko wrote to Katarina, the girl he liked, confessing his feelings. They read it out loud and confess their feelings for each other but, instead of kissing, hug. (“Now”) Lara rushes out.

Somewhere on the front lines, Pasha and the other soldiers wonder why they should die for a cause they don’t believe in, and lament the deaths of the soldiers who died for a senseless war. (“Blood on the Snow”)

In January 1918, Yurii has made it back to his home in Moscow, but finds it derelict and full of strangers. Yurii is reunited with his family and meets his son, Sasha. He learns that their house is now the headquarters for the Worker's Agricultural Research Institute, and his family has been living in the attic. Yurii is questioned by the Writer’s Committee, who want to know what his poetry means. He explains that it means different things to different people, but the Committee is unimpressed. Komarovsky, who is at the meeting, implies that Yurii’s poetry has to celebrate the Revolution. Four writers who have fallen out of favor walk in, and Yurii recognizes his first publisher among them. He watches in horror as the four writers are hanged. Outside the Committee building, Yurii asks Komarovksy how he can live like that, and Komarovksy says he is trying to protect his friends. Drunk, Komarovsky laments the world they lost. (“Komarovsky's Lament”)

Back in the attic, Yurii and his family are starving. They remember their old country estate, which is now abandoned, and decide to move there. Yurii realizes that it is close to Yuriiatin, where Lara lives, and dismisses the idea, saying it’s too dangerous for them to move there. Walking the streets of Moscow, Yurii wonders why his path keeps leading him to Lara and why he still thinks of her, despite the fact he’s tried to live with honor all his life. He decides that they should move to the estate near Yuriiatin, but vows to stay away from Lara. (“Yurii’s Decision”)

Two weeks later, Anna has died. Alex, Sasha, Tonia, and Yurii say goodbye to their house and remember all the memories they have shared there. Markel, a servant, rushes in and announces that the tsar and all his children have been killed. Taking advantage of the communists’ celebration, they join other families fleeing Moscow on a train. (“In This House”) The act ends with communists waving red flags onstage, led by Lara’s husband, Pasha, who is very much still alive.

2. Akt

It is 1919. In the fields near Yuriiatin, some women—Lara among them—work the earth for spring planting. (“Women And Little Children”) A woman called Yelenka says soldiers dragged her husband, Vasya, from their house. Lara tries to comfort Yelenka by saying that Vasya will return, and that part of him will always be there with her. Halfway through the song, she starts remembering Yurii. (“He’s There”)

The scene changes to the train station in Yuriiatin, where Yurii and his family have arrived from Moscow. Tonia, Sasha, and Alex go off in search of information, while Yurii is approached by Captain Liberius and other soldiers, who force him to go with them. Tonia finds out that Yurii was taken by soldiers who work for Strelnikov, the ruthless Commander of the Red Army Partisans who burns down villages for pleasure.

In Strelnikov’s railway car, Yurii is questioned by Strelnikov. The audience finds out that Strelnikov is actually Lara’s husband, Pasha. He wants to know if Yurii worked with a nurse called Larissa Antipova during the war, and Yurii says that she was a wonderful nurse. Strelnikov tells him that her husband didn’t survive the war.

A young peasant is brought in and accused of blowing up a train and spying for the White Army. Though the peasant swears he is innocent, Strelnikov says that all privileged men have to die because they showed no mercy to others during all the years they were in power, which to him is clearly tied to what Komarovsky did to Lara. Strelnikov believes that in order to forge the way for a new world, everything old has to fall. (“No Mercy At All”) Tonia comes looking for Yurii and Strelnikov releases him, but orders the peasant thrown into the ravine.

Yelenka tells Lara that she is going on a date with a mystery gentleman, and asks her to lock up the library where they both work. Meanwhile, Alex, Sasha, Yurii, and Tonia open up the cottage and Alex reminisces about the estate back in its golden days. (“In This House (Reprise)”) A few days or weeks later, Sasha asks to go to the library because he has read every book in the house already. Yurii reprimands him, saying that they should be content with the books they have.

While Alex tucks Sasha in, Tonia asks Yurii how long he’ll keep finding excuses not to write. She begs him to follow his heart and go into the library in town to write, but YuriYuriitests that his heart is here, with his family. Tonia insists that tomorrow he’ll go to the library first thing in the morning. At the library, YuriYuriis into Lara and tells her he tried to stay away but couldn’t. She says it is too dangerous for them to do anything because Strelnikov is her husband and his spies are everywhere. The main characters sing a quintet about how love is both a blessing and a curse, and how it finds you in the most unexpected places. (“Love Finds You”)

Yurii tells Lara that he can’t keep living a double life, and how he feels it is unfair to both Lara and Tonia. He says that they shouldn’t see each other again and Lara accepts his decision, saying she knew it had to end eventually. Leaving Lara’s house, Yurii is taken prisoner by the Red Army, who is in need of a doctor. They force him to go with them and don’t allow him to say goodbye to his family.

It is 1920 and the Russian Civil War is raging. The stage fills with partisans who throw corpses into a fire pit while women scream. The partisans sing about how they won’t stop until the White Army is dead and deserters will be killed. (“Nowhere to Hide”)

The scene shifts to the library at Yuriatin, where Lara is working. Tonia comes in with Sasha and tells Lara she is looking for the poetry book “Searching Through the Rain”. Tonia says that Yelenka visited her, thinking there were things Tonia should know. Tonia says that she hasn’t heard a word from Yurii since he disappeared and Lara says that she is very sorry. The two women sing about how they’re not surprised that the other is kind, but it’s still painful for them to meet. In the end they realize that they feel Yurii closer when they are together. (“It Comes As No Surprise”)

The stage changes to a camp in Siberia, a year later. Kubarikha, a wild-looking peasant woman, is being questioned by the Red Army, who suspect she’s been spying for the Whites. They tell Yurii to question her. In doing so, he finds out that she killed her children, thinking they would be better off dead than tortured by the partisans. She tries to kill herself with a knife but her death is slow and painful, so Yurii shoots her. The soldiers say that he is just like them now, but Yurii denies it. He tries to escape while wondering what he will find when he gets home. (“Ashes and Tears”)

Yurii makes it back and finds Lara, who tells him his family had to flee because the Red Army is now in control of Yuriatin, and killing anyone without calloused hands. Lara says they made it out because she begged Strelnikov to let them through. She gives Yurii a letter Tonia left with her. In the letter, Tonia explains how Russia is no longer safe and, after her father’s death, they had to leave. She says that she met Lara and wanted to hate her, but couldn’t. Tonia asks him to go outside and watch the moon sometimes, the way they used to. (“Watch the Moon (Reprise)”) Lara and Yurii sing about how there isn’t much time until the Red Army comes looking for him as a deserter, but they can spend that time together. (“On the Edge of Time”)

The scene shifts to a military hearing where Strelnikov is being sentenced to death for treason. The lights dim and the scene changes again to the abandoned Kruger mansion where Lara and Yurii are hiding. Komarovsky appears and says that the Red Army is days away and intend to sentence both Yurii and Lara, as his accomplice, to death. He offers them a way out of Russia, but Lara doesn’t want to accept anything from him. Alone with Komarovsky, Yurii tells him that the only way this will work is if he doesn’t go with them, since he will surely be recognised. Komarovsky counters that Lara would rather stay and die with him, so Yurii lies to her and promises that he will join them later down the line. After they leave, Yurii wonders if he made the right decision and hopes Lara will forgive him. (“Now (Reprise)”)

The next morning, Strelnikov—who is, again, very much alive—shows up at the Kruger mansion looking for Lara, but she has already left. Yurii and Strelnikov drink together. Strelnikov says he threw his life away to rid the world of everything that corrupted Lara and to revenge her shame, and Yurii counters that Lara was never corrupted. Strelnikov says he loved the Revolution and it betrayed him in the end, but he’ll be remembered as a saint. He shoots himself offstage. The red flag of Communist Russia is lowered as soldiers march across the stage, singing about the new world they’re creating. (“Blood on the Snow (Reprise)”)

It is 1930 again. Lara and Katarina, Lara and Yurii’s daughter, stand by the grave with a priest, the same tableau that began the show. (“On the Edge of Time (Reprise)”)

Besetzung der deutschsprachigen Produktionen

Besetzung	Leipzig 2018	Pforzheim 2018	Tecklenburg 2019
Jurij Andréitsch Schiwago	Jan Ammann	Kurosch Abbasi Paul Jadach	Jan Ammann
Larissa Guichard (Lara)	Lisa Habermann	Femke Soetenga Anna Gütte	Milica Jovanovic
Viktor Komarovskij	Patrick Rohbeck	Spencer Mason	Bernhard Bettermann
Pavel Antipov (Pasha)	Björn Christian Kuhn	Julian Culemann Ingo Wagner	Dominik Hees Fabio Diso
Antonina Gromeko (Tonia)	Hanna Mall Julia Lißel	Stamatia Gerothanasi Natasha Sallès	Wietske van Tongeren
Anna Iwanowna Gromeko	Sabine Töpfer	Lilian Huynen	Bettina Meske
Alexander Gromeko	Michael Raschle	Klaus Geber	Kevin Tarte
Janko	Stephen Budd	Ingo Wagner Enes Sahin	Nicolai Schwab
Markel	Milko Milev	Karel Pajer	Jörg Neubauer
Liberius		Holger Wecht	Florian Soyka
Gints	Milko Milev	Frank Traub
Ensemble		Manuela Wagner Angela D'Antuono Gitte Pleyer Rigobert Störkle Brian Garner Lilian Huynen Angela Wollschläger Steffen Fichtner Lothar Helm Thorsten Klein Dorlir Ahmeti Ivan Zlabek	Jennifer Kohl Esther-Larissa Lach Sophie Blümel Eva Kewer Alexandra Hoffmann Tamara Peters Dominique Aref Celena Pieper Wolfgang Postlbauer Julian Schier Jan Altenbockum Bosse Vogt Florian Albers Zoltán Fekete David Hammann Mathias Meffert Andrew Hill

Musiktitel

1. Akt

• Schwarz-Weiß - Two Worlds – Ensemble
• Ballsaal/ Komarovskijs Trinkspruch - Komarovsky's Toast – Komarovskij, Alexander, Anna und Ensemble
• Wer ist sie? - Who Is She? – Jurij
• Göttliches Geschenk - It's a Godsend – Pasha und Ensemble
• Wenn die Geige sang - When the Music Played – Lara
• Sieh zum Mond - Watch the Moon – Jurij und Tonia
• Vorwärts, Marsch! - Forward! – Gints, Pasha und Ensemble
• Dort, wo der Flieder blüht (Lara's Theme) - Somewhere My Love (Lara's Theme) – Ensemble
• Jetzt - Now – Lara und Jurij
• Blut auf dem Schnee - Blood on the Snow – Pasha und Ensemble
• Komarovskijs Klage - Komarovsky's Lament – Komarovskij
• Jurijs Entscheidung - Jurij's Decision – Jurij
• Hier im Haus - In This House – Sasha, Alexander, Jurij, Tonia und Ensemble

2. Akt

• Frauen und kleine Kinder/ Er ist da - Women And Little Children/ He's There – Ensemble und Lara
• Du kommst nicht davon - No Mercy at All – Strelnikov
• Hier im Haus (Reprise) - In This House (Reprise) – Alexander
• Sie wählt Dich - Love Finds You – Jurij, Lara, Komarovskij, Strelnikov und Tonia
• Es gibt kein Versteck - Nowhere to Run – Liberius und Ensemble
• Trotzdem wundert es mich nicht - It Comes As No Surprise – Tonia und Lara
• Tränen und Wut - Ashes and Tears – Jurij und Ensemble
• Eispalast/ Sieh zum Mond (Reprise) - Watch the Moon (Reprise) – Tonia
• Jenseits aller Zeit - On the Edge of Time – Lara und Jurij
• Jetzt (Reprise) - Now (Reprise) – Jurij
• Blut auf dem Schnee (Reprise) - Blood on the Snow (Reprise) – Ensemble
• Jenseits aller Zeit (Reprise) - On the Edge of Time (Reprise) – Katharina, Lara, Jurij und Ensemble

Einzelnachweise

Kategorie:Musical