There are two things that can be said of Elchin Afandiyev: you will probably not have heard of him; you will be hearing a lot more about him in the future.
David Parry is a multi-talented individual, and when I attended, by invitation, a viewing of Citizens Of Hell Tuesday night, he was wearing his producer’s hat. Over the past few years, Parry has been nurturing cultural ties with the government of Azerbaijan, a country that has existed in its own right since only 1991.
Like Parry, Elchin Afandiyev is a multi-talented individual, a politician as well as a playwright, and this performance of his play Citizens Of Hell at Theatro Technis was a world first: the first time it had ever been performed either in the West or in English.
Community theatre is not for everyone, nor is Citizens Of Hell because it requires at least a superficial knowledge of one of the darkest periods of 20th Century history outside of its frequent wars, namely the Soviet Union under Stalin, in particular the denunciations and show trials which, contrary to what some continue to claim, was not a myth.
The play has only three characters: a husband and wife, and a mysterious visitor to their 5th floor apartment on New Year’s Eve 1937-8.
The play actually begins and ends with an art slide show set to music; there is a dialogue at the dinner table between the couple, then the stranger appears, and the wife recognises him for who he is at once, the Devil. That doesn’t stop her lending a hand when her husband attempts to strangle him, but after two resurrections there can be no doubt
Why would they resort to such violence? Because he tells them both some uncomfortable home truths about their respective roles in denouncing people to the authorities, and produces a letter the husband had written to Comrade Stalin himself.
Old Nick’s physical manifestation is hardly a new theme of course, it can be found in both literature and films including The Devil’s Advocate and ten years earlier in Angel Heart, but there is nothing as covert as either of those appearances here.
How does the story end? That would be telling, suffice it to say, the Devil is the only good guy in this two act play. The role is filled by Dominic O’Flynn, who currently has five entries in the
IMDb. Expect to see a lot more in future.
The play Citizens Of Hell was performed at the Theatro Technis in North London. It was only a small production at a community theatre, but there is one man who hopes to see a mighty oak grow from this tiny acorn. The play was directed by lecturer David Parry, and it is important because? This was the first performance in the West and in English of this miniature, which was written by Elchin Afandiyev, who is a politician as well as a playwright in Azerbaijan.
On the Saturday following its premiere, producer Parry and the rest of his small but enthusiastic team mingled with representatives of the Azerbaijan Government. The play was sponsored by the country’s Ministry Of Culture And Tourism, and supported by the London Embassy.
Parry’s next project is something entirely different, but don’t think he is finished with either Elchin or Azerbaijan. Here is the man in his own words. On the play: “this was the play I had always envisaged. An exploration of political paranoia and sexual frustration: a spiritual dystopia”.
And on the playwright: “...I find Elchin a remarkable, not to mention subversive, playwright. Therefore, if I get my way, I would like to stage all 100 of his plays.”
This young country is strategically important, being rich in natural resources, and also in culture. It can only be beneficial to the UK to develop strong cultural ties with it, and if it does, a hundred years from now our descendants might find the name Elchin Afandiyev in their school curricula alongside Dickens and Shakespeare. If they do, David Parry is the man they will have to thank.
Alexander Baron's interview with David Parry, about Citizens of Hell:
Digial Journal, 6th August, 2013
London - Last month, the play ‘Citizens Of Hell’ had its London, UK, Western and English language debut. David Parry was the man behind it.
Alexander Baron: David, thanks for taking time out of your busy schedule to talk to us. Can I ask you why you chose this particular play to introduce Elchin Afandiyev to a UK audience?
David Parry: Towards the end of our brief premiere run, this was the play I had always envisaged. An exploration of political paranoia and sexual frustration: a spiritual dystopia. As such, performances became even more demanding for all those involved. Indeed, the very long speeches and highly destructive atmosphere proved challenging and tempestuous for the actors. Also, like most people involved in professional theatre, we would have benefited from more time in rehearsals (without the prohibitive costs), and better publicity.
AB: I gather that on the following Saturday you rubbed shoulders with the great and good of Azerbaijan. How did that go?
DP: Regarding the Ambassador's reception, the Embassy was generous to a fault. What is more, the Ambassador extended his personal support for my work once again, delivering a very fine speech. Overall, this was the most successful evening, particularly in terms of dramaturgy and cultural exchange.
AB: What about your team?
DP: I believe we will be recasting this show due to other commitments on the part of the actors. That said, our technical supports were wonderful and can hopefully stay with us. Certainly, I want to work with the artist Filip Firsov again and the designer Eva Terzoni. Moreover, Nick Pelas, John Dunne and I will be expanding my company (Allthing Ltd) into the radical voice in British Theatre. We aim to tackle those issue that our colleague shy away from.
AB: What do you think of the playwright? Obviously you know a great deal about the man and his work.
DP: On a personal level, I find Elchin a remarkable, not to mention subversive, playwright. Therefore, if I get my way, I would like to stage all 100 of his plays.
AB: What is your next project?
DP: My next arts project is more akin to Chamber Theatre a la Strindberg. It will be radical occult performance, wherein we will attempt to reach the wisdom of our ancestors through seance and ritual. Titled An Act Of Necromancy, my aim is to mix an invited audience with practitioners of the hidden arts to recover lost knowledge. It is already being advertised on Facebook and will be staged on Saturday, October 26, at a location to be arranged.
All in all, those things admitted, I suspect my work as a Heathen Priest equally needs a lot more attention. Obviously, I will keep you informed of developments.
AB: Oh yes, David Parry is also a pagan. And a lecturer. You may not believe in the supernatural, but it usually makes good theatre.
