Q: How did the project of Beethoven come about? 

YG: I was already involved with Arlekin as I played Leah in their show The Dybbuk. When they asked if I’d like to direct something, I thought about the company actors who are predominantly women and considered what would work well for them. But first and foremost, I thought about what I wanted the audience to feel after leaving the show. I also considered: what do I want to think about every day? What do I want to

experience during the 4 weeks, 24/7 development and rehearsal process? The answer came to me immediately: the material has to include classical music. It was something that has soothed my heart these past couple of years. Then I ran across this play and proposed it to the theater. 

Q: How did you first learn about this play? 

YG: I knew the playwright’s work very well – Valeriy Pecheykin. This play was written for one (male) actor to perform as a solo show, but I hadn’t seen it performed. I contacted Valeriy, pitched him my vision of how it could work with multiple actors (mostly female), and he supported the idea. So off we went!

Q: What about this play spoke to you? 

YG: Beethoven’s quote that we printed in the playbill reflects what obsessed me: “I will seize Fate by the throat; it shall not wholly overcome me. Oh, it is so beautiful to live, to live a thousand times.” How does one find strength to pursue their calling or dream – or just to keep going with everyday life – when what you value most is taken away? In times like ours, full of despair, how does one find peace and something larger than yourself to keep going? 

Q: Are you a fan of classical music?

YG: Yes, I am obsessed with classical music! I even use it in my acting teaching practice. I believe that listening to classical music can be more instructive than literature and film. It gets to your heart, by-passing your head. And that is the core job of an actor – to “cut the head off” and become pure impulse, pure emotion, pure reflection of the director’s vision. 

Q: The characters of Fermata and the Butterfly were not in the original script. What inspired you to create them? 

YG: I believe it was the brilliant Sarah Infini Takagi who gave her role the name Fermata, because her role is silent but she’s fully present in the action as an actor, not just a musician. We talked a lot about the significance of silence (fermata) for Beethoven. I would say that his music existed for the silence to appear and take over after the music is finished. Which is a beautiful idea. 

With the Butterfly, this was part of creatively utilizing Arlekin’s company while staying faithful to the spirit of the script. Irina Vilenchik plays the Butterfly and she’s also the properties manager on our show. There was so much more that we wanted to include in her role, like Japanese Haiku, but unfortunately you can only do so much in 3 weeks of rehearsals.

Q: How was the experience of working with Arlekin on this project? 

YG: Absolutely fantastic! I am a very demanding director and my expectations were met. The actors put all of themselves into their characters, committing to whatever objective I was throwing their way. It was love from the first rehearsal. 

Q: What’s next for you? 

YG: I am in discussions about directing a theater project in NY next season and I’m fundraising for my first U.S. feature film, based on my personal story. Meanwhile, my schedule is packed with acting work, including a theater production in Venice in March and the lead actress role in a movie in France. Igor Golyak has also invited me to direct another project with Arlekin next season and, no doubt, I will take the opportunity to collaborate again with this wonderful cast and crew. It is a place where magic happens – that is why the audience gravitates to this place. Me included.