World Scenography 1975-1990 page 138
Juno and Avos (Yunona i Avos)
Oleg Sheintsis
& Valentina Komolova (USSR/Russia)
Set & Costume Design
Aware of the need to make this rock opera large-scale and spectacular, Oleg Sheintsnis came up with the original idea of dividing the stage into five slanting platforms, like a kind of stage-sized Rubik Cube that, according to director Mark Zakharov, “contained a
multitude of various amusing combinations”. Part of a sail, soaring above the stage, was perceived as a full-size ship that was ceremonially launched on the glass flooring of the platforms lit from underneath. Some
soulless force, engaged in insoluble conflict with the dominant lyrical theme, seemed to be hiding in the cold glitter of the metallic surfaces, the menacingly frozen folds of the drapes, the gesture of the bronze figure
crowning the bow of the ship Director Zakharov has repeatedly stressed that it took flawless taste and superb professional standards to make costumes for Juno and Avos. Indeed, the artist was faced with a complex task of designing a very wide spectrum
of costumes: from historical and ethnic (uniforms of the 19th century Russian naval officers, Spanish garments) to the costume of a universal personality like Woman with Child. Besides, costumes for a rock-opera
had to be eye-catching in movement, since many of the scenes were choreographed. Costume designer Valentina Komolova created a wonderful colour palette, using contrasting combinations of colours (green and white for the Russian officers, black and red for the
Spaniards) and an intricate blend of smokywhite and pale-yellow tinges in the apparel of Conchita. The attire of Woman with Child was a mixture of pastel lilac and grey and pink. Juno and Avos became a cult show in the
former USSR and later in Russia. It has played to packed houses for over quarter of a century.
Images posted with permission by editors
World Scenography 1975-1990 page 138
Juno and Avos (Yunona i Avos)
Oleg Sheintsis
& Valentina Komolova (USSR/Russia)
Set & Costume Design
Aware of the need to make this rock opera large-scale and spectacular, Oleg Sheintsnis came up with the original idea of dividing the stage into five slanting platforms, like a kind of stage-sized Rubik Cube that, according to director Mark Zakharov, “contained a
multitude of various amusing combinations”. Part of a sail, soaring above the stage, was perceived as a full-size ship that was ceremonially launched on the glass flooring of the platforms lit from underneath. Some
soulless force, engaged in insoluble conflict with the dominant lyrical theme, seemed to be hiding in the cold glitter of the metallic surfaces, the menacingly frozen folds of the drapes, the gesture of the bronze figure
crowning the bow of the ship Director Zakharov has repeatedly stressed that it took flawless taste and superb professional standards to make costumes for Juno and Avos. Indeed, the artist was faced with a complex task of designing a very wide spectrum
of costumes: from historical and ethnic (uniforms of the 19th century Russian naval officers, Spanish garments) to the costume of a universal personality like Woman with Child. Besides, costumes for a rock-opera
had to be eye-catching in movement, since many of the scenes were choreographed. Costume designer Valentina Komolova created a wonderful colour palette, using contrasting combinations of colours (green and white for the Russian officers, black and red for the
Spaniards) and an intricate blend of smokywhite and pale-yellow tinges in the apparel of Conchita. The attire of Woman with Child was a mixture of pastel lilac and grey and pink. Juno and Avos became a cult show in the
former USSR and later in Russia. It has played to packed houses for over quarter of a century.
Images posted with permission by editors