Good and evil frolic synonymously and in wildly different forms in this ambitious interpretation of Mikhail Bulgakov’s politically loaded 20^th century text.

The set is an austere, plain black, a blank canvas for all the various settings and time periods of the stories to come.  With a battered copy of Bulgakov’s The Master and Margarita in hand, an actor begins to read aloud. What unfolds is a tale of two cities, Stalin’s Moscow and ancient Jerusalem. Each appears to be completely at odds with the other – Moscow devoutly atheistic, Jerusalem a one-religion state – yet they are both the same. Woland the Devil finds in their supernatural travels through these vastly different eras that no matter the social construct, good and evil will always flourish and fall based people’s choices to submit or challenge the status quo. This chaotic, joyful and magnificent tale comprises human and supernatural elements, including a giant talking cat, a mad novelist, a ruthless officer of the secret police and Margarita, who has to go beyond earthly means to stand up for what she thought was right, and for all of us.

Bulgakov’s work is now considered a phenomenon of world literature in its convictions that evil can only vanquish good when good people don’t act, (yes, inspired by Les Mis) and the power of love over all else. But it was written in secret in Stalin’s Russia, hidden from the state police and only found acclaim because Bulgakov’s wife Elena, thought to be the inspiration for Margarita, risked her life to keep it safe until it could be published. Belvoir’s interpretation of the story, helmed by adaptor and director Eamon Flack, captures the soul of the story and the core philosophical themes relevant to us today in our experiences of war – free Palestine – faith and politics.

The beauty of titular characters of The Master and Margarita, and the Devil, is their ambiguity. None is completely good or evil, but rather a muddled concoction of the two and something in between. The Master writes a story that seeks to carry lessons from ancient Jerusalem to 20^th Century Moscow, a flagrant statement against Stalinism – a depiction of good – but is so terrified of potential punishment that he commits himself to an asylum, a Hell of his own making if you will, rather than follow through on publication – inaction, representing evil. Likewise, Margarita stands by The Master’s story due to her belief in it – good – but makes a deal with the Devil to save it – evil. Woland and their posse’s mischievous antics throughout play with both good and evil, depending on what serves them best, sometimes saving lives and sometimes bringing death and destruction.

Paula Arundell is sinisterly sensational as Woland, her dialogue gripping and abrupt cackles unsettlingly enjoyable. As the Master, Mark Leonard Winter portrays his character’s equal serves of passion and spinelessness well; he convinces you to believe in him before disappointing you with his lack of conviction. Enter Anna Samson as Margarita; despite not appearing until around halfway through the story, from the minute she takes the stage she owns it. Samson is fearless and completely gives herself over to the character, her transition from human to magical being an enchanting and raucous spectacle to behold.

With considerable full-frontal nudity, the interchanging eras, supernatural components and adult themes, The Master and Margarita isn’t a play for the faint of heart, but it just might open yours to a new theatre and literature genre if you let it.

Purchase your ticket to The Master and Margarita here.

Merlot | Wine Pairing

Can you believe that in the 19^th and 20^th Centuries Russia went through multiple periods where wine consumption was encouraged as a way to reduce alcoholism, in the hope that wine would steer people away from Vodka? It’s an unusual perspective, but it did result in the popularisation of many varietals across red and white. Bulgakov references a blood-red wine (and a poisoned wine, but that’s not really the kind of recommendation we do here) so garnet-coloured Merlot it is.

The Master & Margarita, Belvoir St Theatre | Tasting Notes

Aussie Season	11 Nov to 10 Dec 2023, Belvoir St Theatre
Ticket $	$52-93
Writer	Adapted by Eamon Flack from the book by Mikhail Bulgakov
Director	Eamon Flack
Theatre Type & Genre	Play, Drama
See it if you like	Philosophy, Russian literature
Wine Pairing	Merlot
Criteria for Wine Pairing	blood-red colour, rich notes across multiple flavour palates such as fruit and spice