Alhadeff with co-star, Billy Finn Photo by Sayed Alamy.
Andi Alhadeff has been working in the Seattle theater community for over a decade and was excited to finally sit down for a chat about her role in a play that will make its world premiere at the Seattle Rep in March.
According to the press release, Mother Russia is set in 1992 in St. Petersburg, Russia. It is a quirky comedy that follows Evgeny and Dmitri, two young men who had spent their lives looking forward to comfortable government jobs. The fall of the Soviet Union throws their plans into disarray as they navigate capitalism, love triangles, and retail jobs. More complications arise when they encounter an alluring former pop star named Katya, who holds her own secrets.
“It’s a play with big political themes that make you think, but it’s also wrapped in the ridiculousness of these three people’s lives,” said playwright Lauren Yee. “Compared to some of my other plays that have debuted in Seattle, which I would describe as very funny dramas with a certain lightness and humor, Mother Russia is much more of a heightened farce.”
Lauren Yee’s work was last seen at Seattle Rep in the 2018 production of The Great Leap and most recently in Seattle in 2023’s Cambodian Rock Band, co-produced by ACT and The 5th Avenue Theatre. Mother Russia was initially conceived in 2017 during a weeklong residency at Seattle Rep and continued its development at a 2024 New York workshop produced by the theater. Yee was involved in the rehearsal process in Seattle, crafting this new play in collaboration with the Seattle Rep artistic team, designers, crew, and cast. The play marks the 65th world premiere in Seattle Rep’s production history.
Here are highlights from our interview.
On Playing Katya in ‘Mother Russia’:
“So I play a character named Katya, and she has an interesting history. We find her at a very interesting moment in her life. She grew up in Russia under the Soviet regime and was born into a culture and a family of resistance. Her family of dissident artists encouraged her to fight the system and create art based on what she believes. She grows up with this belief and becomes a songwriter and musician, writing songs to fight against the oppression she faces. She defects to America, gains traction there, and then Yeltsin takes office. The wall falls. Capitalism is introduced into Russia. Her cause, as it were, evaporates, and consequently, so does her relevance in the American market. She finds herself struggling to make a living and, unable to afford to stay in the States, moves back to Russia to teach music. That’s where we meet her in this play. She’s trying to figure out who she is in this new world. This theme runs through the play, as all the characters find themselves in a completely different landscape and suddenly don’t know who they are or how they fit into this transitional time.
I feel honored to play this character because she’s fierce and has been through a lot. It’s interesting to work on this show because it mirrors what’s happening in our country. They have established this oppressive regime, this oligarchy, this autocracy, and now they are emerging into freedom in some form. They are encountering choice for the first time and capitalism. Meanwhile, in our country, we’re in late-stage capitalism, and we’re looking at government structures that echo the other side of the coin. It’s really interesting because the show also explores capitalism as a form of freedom—freedom of choice, freedom of expression—but no one really knows how to navigate it because they haven’t grown up with it. There’s a moment in the show where it’s like, how do you choose a toothpaste? You look at all these brands and wonder if they are just distractions, ways of moving our energy from one form of oppression to another, even if we don’t perceive it that way. It’s interesting. I read a book called Secondhand Time in preparation for the show, which is filled with firsthand accounts of people who lived through this. One quote stuck with me: putting capitalism in Russia is like planting a palm tree in the Arctic. There are no capitalists in Russia, even though there is capitalist infrastructure. They don’t know how to do it. And I’m not sure there’s a right way, but it’s a really uncomfortable transition, even though capitalism symbolizes freedom in some ways.
My character really feels this tension because the values her parents fought for and the things she was raised to value have come to pass, but not at all the way they intended. People are waiting for hours, spending their whole day in a McDonald’s line to order a Big Mac, instead of putting on a Chekhov play. Everything she thought freedom would be under capitalism is not at all what’s happening. So, she’s pretty lost and struggling to make ends meet.”
Which is Which?
“Yes, it’s interesting that you say that because there have actually been at least four versions of the script since I auditioned for the show. Lauren Yee, our playwright, is a prolific and brave writer. She makes drastic changes without attachment or ego. It’s like, “Let’s try this totally different thing and see what happens.” Some of what you’re referring to is still relevant, but some of it is no longer in the script. We’ve turned the tables on some of it.
It’s been a wild ride. My castmate Jessie Calixto said it’s funny because you get to see your character in all these multiverses. We’ve read at least four versions, asking questions like, “What if they were the ones following her?” or “What if she’s protecting them?” or “What if she’s trying to figure out what they’re up to?” There have been different incarnations, including our Julie Briskman, who plays the titular character, Mother Russia. At one point, her character was cut entirely.
The play is called Mother Russia, and her character is this amazing spirit in the show. She’s not directly tied to the A-plot but serves as a voice of wisdom, speaking to the audience. Initially, we started rehearsing without her, but as we read through new drafts, Lauren bravely admitted, “I think I was wrong. We need her.” So Julie, who works at the Rep, jumped right in to fill the role. There have been many ups and downs, and it’s been unlike any new works process I’ve been part of, because everyone is so willing to experiment and do whatever serves the show and story. The classic “kill your darlings” mindset really applies here—let’s just turn it on its head and see what happens.
So, yes, there have been many versions. Some of the blurb is still relevant, including the love triangle, which is a bit of a reveal. But we’re still getting a completely new ending from Lauren tomorrow during our three-hour morning rehearsal.”
Her Other Passion:
“I do costume design, too. It’s been fun. I think it’s valuable to work on all sides of the table in any theater experience. You learn so much when you’re involved in the other parts of the creative process. We’ll see what the future holds!”
On the Katya Vs. Current Political Climate with Russia:
“Oh my gosh, what a great question. I’ve been writing a document about Katya’s backstory, but I haven’t thought about her future. If she were in her 30s today, I think she’d be pulling up her old songs. Maybe not the exact same subject matter, but she’d still have that mission and purpose. I hope she’d be writing new songs for the current climate. Her activism through art is something I’d love to see her continue. I hope we can all express our voices without fear, just as she would (Yes, like Pussy Riot).
I think it’s important for people to know that despite the heavy subject matter, especially in today’s political climate, Mother Russia is a comedy. It’s a hilarious romp—fast-paced with quirky elements. It’s unlike any play I’ve seen. These characters all live in their own worlds, and when you put them together, it creates something new. It tackles heavy topics with levity, making them easier to digest and ultimately, enjoyable.”
Mother Russia opens on March 6th through April 6th at the Seattle Repertory Theatre. For ticket reservations, call the Seattle Rep Box Office at 206.443.2222 or toll-free at 877.900.9285, or go online at SeattleRep.org
