Taking on the system with Jazz; the director of new musical set in 1950’s Russia talks about the real-life movement that inspired the show

Boogie on the Bones from Slavic theatre company WITHINTHEATRE was inspired the Stilyagi, a Soviet youth subculture which began in the late 1940’s as a form of protest against the conformist nature of Russian society. Ahead of two London dates starting next week, director Sofia Barysevich talks about the real life practice the title is taken from, art as rebellion and what audiences can expect from the show

What first drew you to the story of the Stilyagi, and how did you discover the real-life practice of carving music into X-ray films?

What’s happening in the world right now: the return of censorship, the suppression of subcultures, the politicisation of personal identity reminded me so strongly of the Stilyagi movement that I felt compelled to return to it. Their story felt suddenly urgent again. I didn’t have to "discover" the X-ray records, I’ve known about them since childhood. My grandparents used to tell me stories about how people secretly carved forbidden music onto discarded medical films. It’s a well-known part of Soviet underground culture, often referenced in films and books from that era. But I always found it deeply poetic - music literally etched into images of the human body. That image stayed with me.

It was clear to me that this wasn't just a piece of history, it was a metaphor for survival, for beauty carved out of restriction. That’s what drew me in.

The play is inspired by real events. How did you navigate the balance between staying true to history and creating compelling characters and narrative arcs for the stage?

For us, staying true to history meant capturing the atmosphere of Soviet life - the tension, the fear, the small acts of rebellion that carried enormous risk. The Stilyagi movement is the backdrop, but at its heart, Boogie on the Bones is about individual people navigating impossible choices.

We chose to focus on six characters, each facing a different kind of pressure - personal, political, or emotional. Their choices don’t always align, and not all of them are heroic. But that’s the point: we wanted to create a spectrum of responses to oppression and ask the audience not just what would you do?, but can you understand them all? The historical truth grounds the story, but the emotional truth is what makes it live on stage. It’s not about telling the audience what to think -  it’s about inviting them to feel the cost of every decision.

Boogie on the Bones is about the power of art as rebellion. What do you hope audiences will take away about the relationship between music, freedom, and resistance under authoritarian regimes?

I hope audiences come away understanding that resistance isn’t always loud. Under authoritarian regimes, it’s often the quiet, everyday acts that carry the most power - choosing how you dress, how you love, or simply what music you listen to. In Boogie on the Bones, music becomes a form of survival - a way to protect identity and joy in a world that punishes both. That’s not just history. Right now, in my home country and in Russia, artists are being banned for the songs they write. Many musicians are censored because they don’t fit the state narrative. The story of the stilyagi reminds us that even something as simple as dancing to jazz was once dangerous - and in some places, still is. The connection between music, freedom, and resistance is timeless. History doesn’t just repeat itself, it echoes through every beat.

What does the character Mel’s journey say about the human capacity to change, even under intense pressure?

Mel’s journey shows us that even within rigid systems, people have the power to transform. He begins the play as a loyal Komsomol member - someone shaped by ideology, fear, and obedience. But through his encounter with the stilyagi, he discovers a different way of living: one driven by self-expression, music, and emotional truth.

His transformation isn’t instant,  it’s a process of awakening. He doesn’t just fall in love; he finds his purpose. By choosing to become part of the Stilyagi, Mel doesn’t just adopt new clothes or music, he reclaims his identity. And once he’s made that choice, he doesn’t look back. He can no longer understand how others choose safety over authenticity. Mel represents the human capacity to change when given a glimpse of freedom, and the courage it takes to stay true to that change, even when the cost is high.

Although the play is set in post-Stalinist Russia, its themes resonate strongly today. How do you see Boogie on the Bones speaking to modern audiences living through political and social upheaval?

Around the world today, we’re seeing rising censorship, the targeting of artists, and the suppression of marginalised voices. In that context, the play speaks directly to anyone who's ever felt the need to hide who they are, or has watched others be punished for simply expressing themselves. The Stilyagi didn’t lead revolutions, they danced, dressed boldly, and played banned jazz records. Their rebellion was personal, creative, and joyful. That kind of resistance feels especially relevant now, when people are once again fighting for the right to live and express themselves freely.

Modern audiences don’t need to know Soviet history to connect with this play. It’s about the tension between fear and freedom, conformity and authenticity -  themes that cut across time and borders. At its heart, Boogie on the Bones is a reminder that art doesn’t just survive under pressure -  it becomes more urgent, more defiant, and more human.

WITHINTHEATRE has roots in communities with lived experience of authoritarian regimes. How did that background shape your approach to writing this story and giving it authenticity?

WITHINTHEATRE is a collective of Slavic performers, many of whom moved to London within the last two to three years. For most of us, that move wasn’t just a career choice, it was a form of escape. We come from countries where artistic freedom is rapidly disappearing, where being yourself  in your identity, your politics, or your art can be dangerous.

That shared experience created a kind of unspoken language in the rehearsal room. Between myself, the writer Daria Besedina, and the ensemble, there’s a deep mutual understanding. We don’t have to explain what it means to live under surveillance, or to feel fear as a daily reality - we’ve lived it.

That background shaped not only how we told the story, but how we created it. Much of Boogie on the Bones emerged through improvisation, moments where actors explored scenes in their own words, and often in their own language. We gave space for their lived experiences to surface, shaping the text and characters from the inside out.

This isn’t just a story we researched, it’s one that’s etched into our collective memory. The pain of what’s happening back home still lives in us, and Boogie on the Bones became a way to transform something painful into something defiant, joyful, and true. That’s what gives the piece its authenticity. It’s not a reenactment. It’s personal.

Boogie on the Bones is at Omnibus Theatre from 14-25 October and the Cockpit Theatre from 1-7 December. For more go to www.withintheatre.com