Boogie on the Bones | Omnibus Theatre

Boogie on the Bones, which is written by Daria Besedina and directed and produced by Sofia Barysevich, is an original musical that has been inspired by true events. The musical takes place in Soviet Moscow in 1956, where the stench of rebellion slowly sifted through the youth. With a harsh censorship over the land, dance and music became a powerful way to protest and protect one's rights. Art, a creative expression of freedom, becomes a rallying point of defiance. 

The musical has a powerful premise, as a young group of four friends (Bob, Fred, Betsy and Polly) enjoy their western ideals, filled with colour and dance as the world around them slowly begins to grey. Two young Soviets (Katya and Mels), in comparison, are rigid as they strike to uphold the nation's censorship through discipline. However, the line between the two groups of students begins to blur after a chance meeting between Mels and Polly. A lovesick Mels slowly embraces a more Western thinking, as he tries to impress and connect with Polly, unintentionally becoming a Stilagi (young person choosing music and colour instead of conforming with the norm). The musical also focuses on the lives of the other three friends. 

Despite having a strong premise and the best of intentions, the musical does fall flat throughout, with the audience often left confused if they are meant to laugh at or with the characters. Or if they are meant to laugh at all, at the rare moments that they do. The pacing struggles to make sense of the show and it lacks heart. Whilst the story is touching, and the audience can understand what's at stake, the intensity of the threat is missing during the show, undermining the bravery of the characters. The show shifts away from Mels' courage as he switches allegiances, with his backlash being waved aside, a college suspension that doesn't affect him at all. The friends are given little to no time to develop as a group, and the four friends remain a mystery to the audience. 

Besedina's writing doesn't quite do the characters justice, especially the female characters, as they are passive members in the show. Polly and Mels' love is at the core of the show, yet Polly rarely seems to reciprocate this beyond a few moments of intimacy. Betsy is reduced to a betrayed woman who verges on being hysterical. Katya, bafflingly, decides to abandon her loyalty as she attempts to pursue Mels for the briefest of moments that feels like an easy plot points that diminishes the story further. 

The musical is not without its strengths, with the discussion of how music was smuggled into the country becoming a fascinating and striking moment of brilliance. Vinyls were etched and smuggled in as X-Ray sheets and audiences are able to watch this happen in real time. The horrific parallels as music and dancing is considered a disease to be wiped out is chilling, and is done really well in two sequences at the show's start and end. The abrupt shift between youth and adulthood as the reality of a harsh world comes crashing towards each of the friends is done well, and ironically becomes of more emotional significance than the larger concerns. 

Arseniy Cassidy as Bob delivers a strong performance as he becomes the voice of reason and comfort, leading the movement of music smuggling. As a doctor with a smoking addiction, he is hilarious with fun quips and an easy-going charm. Max Taptygin as Fred is an impressive dancer and performer, really delivering a tortured soul as he slowly accepts reality. His stark change as an adult is felt keenly, tugging on the emotional threads of the piece. Anastasia Aush as Polly wonderfully shows the sharp shift as the safety blanket of youth is ripped away, as well as capturing the carefree freedom and naivety of youth. Vera Raskina as Betsy really commits to the role, embracing the frustration and confusion of the character as she is betrayed. Raskina's performance tips into madness, as her manic energy is felt throughout the theatre.

Olga Pipchanka as Katya shows a toughness in her performance as she demonstrates her unwavering loyalty to her country. Andrii Zamiatin as Mels shines in the role as he falls in love. The tough exterior melts away as his shy and soft side springs forward, and the complicated world fades away as the audience are wholly rooting for him to reunite with Polly. Zamiatin is nervous and plays well to the audience in the few moments of audience interaction, making him endlessly endearing. 

The songs are all created by Russian bands that are currently banned due to censorship, providing a platform for these bands and maintaining the sense of creative freedom. The songs range from peppy, to soulful and emotional. They are used infrequently, but are enjoyed when they are used. Choreography by Anna Korzik and Wren Perkins creates an energetic atmosphere to these scenes. 

Anastasiia Glasova's costume design creates an ensemble of colourful clothes and hairstyles that really reflect the freedom of youth. The significant yellow ties are used as well. The difference in the darker cloaks and the eventual adult dark suits are an admirable moment of visual Storytelling.  

Eldar Shibanov creates a fairly minimalistic set on the intimate stage, most notably using a screen to create striking scenes of silhouette and shadows. Also, four looming statues are left on stage throughout, as the constant surveillance that the friends are facing with cold and unfriendly large heads atop. ThegeorgeNet creates a rather gorgeous lighting design, especially during the more romantic scenes, with the red light drowning out the performer's faces allowing them the privacy of their emotions; a luxury not afforded to them elsewhere in the show. Sasha Gefen's sound design is used well, as the crackling vinyls play over the show, along with radio clips. 

Boogie on the Bones may not have the strongest elements, but the foundation on which it's built, and ultimately pays homage to, makes it a resoundingly reminder about the rebellion that continues still today.

Boogie on the Bones is playing at the Omnibus Theatre until 25th October 2025 and will be playing at The Cockpit Theatre from 01st-07th December 2025.

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★★☆☆☆ (2*)

Gifted tickets in return for an honest review | Photography by Varvara Burtseva