© Dmitrij Matvejev

Liucia Skates

Based on the play by Laura Sintija Černiauskaitė

DIRECTOR: Oskaras Koršunovas
SCENOGRAPHY: Irina Komissarova
MUSIC: Dominykas Digimas
VIDEO DESIGNERS: Aneta Bublytė, Vytautas Narbutas
COSTUMES: Bartė Liagaitė
LIGHT DESIGNER: Rimas Petrauskas
CAST: Taura Kvietinskaitė, Lukas Malinauskas, Gailė Butvilaitė, Karolis Vilkas, Aidas Jurgaitis, Žygimantė Jakštaitė, Artiom Rybakov, Kamilė Petruškevičiūtė


PRODUCER: OKT / Vilnius City Theatre

DURATION: 1 h 40 min


LANGUAGE: Lithuanian with English surtitles

DATE: 28 September 2019, 14:00
VENUE: OKT Studio (Ašmenos str. 8, Vilnius)

These were the times when the first TV celebrity-making factories produced their first “stars”, movie theaters were screening first parts of The Matrix, The Lord of The Ringsand Harry Potter, and one of Lithuania’s most scandalous politicians Rolandas Paksas made a brief but very impressive appearance as the President of Lithuania. These were the wild 00s. A look at these times from the today’s perspective – this is what Oskaras Koršunovas premiere Liucia Skatesbased on the play by Laura Sintija Černiauskaitėis about.

Cameras, screens and live stream are being used in the production. According to the director, modern theater can survive without media, although in this production various means of it are as important as they are in our everyday life.


“Perhaps because Shakespeare placed his characters of Romeo and Juliet in the medieval Verona or maybe because Homer described the war that has started because of the beautiful Helen during the times of ancient Troy, we are used to true love stories taking place somewhere in the past, during some almost mythical time. That’s what 00s are now. This period has become our Middle Ages. These were the times of the first supermarkets and mobile phones, when we’ve started sending each other short messages, in other words – SMS. And here love has returned to the times of troubadours. These were the wild times of the dawn of consumerism. In Lithuania people have finally started having money. The cult of money was horrible. The consumerist Sodom and Gomorrah have begun. By the way, at this particular time our production Shopping and Fucking criticizing consumerism first saw the light and was immediately “consumed” as the first production about gays and junkies. On the one hand, these were very primitive times, on the other – times filled with hope. Back then everyone believed in the future. I have noticed that modern youth considers these times a good vintage.”

Oskaras Koršunovas


Oskaras Koršunovas

Director, artistic director of OKT / Vilnius City Theatre Oskaras Koršunovas graduated from the Lithuanian Music Academy (artistic director Jonas Vaitkus) in 1993 with a Master’s degree in Theatre Directing. While still a student, the young director stood out for his unusual theatrical language, his performances were referred to as “a separate body”, “a theatre within a theatre”. In 1998 the director, together with a few like-minded artists, founded an independent theatre called Oskaras Koršunovas Theatre (OKT). Koršunovas received numerous awards for his performances: he was granted the Europe Theatre Prize for New Realities in 2006, an honourable title of the Chevalier of the French order of Literature and Arts in 2009, the following year – the main prize of the Annual Meyerhold Assembly. Many of his stage works were awarded with the main Lithuanian theatre prize, the Golden Stage Cross. O. Koršunovas stages performances in other European theatres, he is also a professor at the Lithuanian Academy of Music and Theatre.

OKT / Vilnius City Theatre

OKT / Vilnius City Theatre was founded as an independent theatre in 1998 by Oskaras Koršunovas together with a few like-minded fellows, called Oskaras Koršunovas Theatre, shortened to just OKT. Koršunovas, assisted by guest directors, has built a solid repertoire, which encompasses both contemporary drama and classic stagings. The director’s credo to stage classics as contemporary plays, recognizing what is relevant to the present time, and contemporary plays – as the classics, conveying what is universal and timeless, became paradigmatic in that creative period. In the director’s opinion, contemporary theatre must reflect the present day and sometimes even be ahead of the time, predict the future and act as a warning. “Shopping and Fucking” by Mark Ravenhill, “A Midsummer Night’s Dream” and “The Most Excellent and Lamentable Tragedy of Romeo and Juliet” by William Shakespeare, “Fireface” by Marius von Mayenburg, “Master and Margarita” by Mikhail Bulgakov, “Oedipus the King” by Sophocles, “Playing the Victim” the Presnyakov Brothers, and other performances, which became cornerstones of the theatre’s repertoire and its foreign tours, were staged adhering to the above-mentioned principles and credo.

The latest productions of Oskaras Koršunovas are staged in OKT Studio with the youngest generation of OKT actors. Also, it invites young artists to stage their productions at OKT Studio.
The tours in international festivals, performances and projects in foreign theatres encompass the United States, South Korea, Australia, Argentina, and the territory in between. Each year, the OKT theatre appears on more than ten different stages in different parts of the world. Hence, the motto of the OKT theatre: only being “there” can we stay “here.”


“In a whole array of screens and various spaces of performance every spectator can create their own version of the story – one can watch a live performance, a camera altered image or simply enjoy projections not necessarily involving the characters of the play. Whatever interests the spectator more. […]
Perhaps the decision to portray these love dramas over the background of pop culture references was made in order to evaluate the influence of such references to the reality, to find out how pop culture in general forms expectations, desires and the idea of life itself.”

Laura Šimkutė, Menų faktūra

“The characters of Liucia Skates by Oskaras Koršunovas suffocate in their daily routine and their suffering is unpleasantly familiar. Careless atmosphere and exaggerated real life situations suddenly make spectators face themselves. […]
It was intriguing to find out how this seemingly simple mundane play will transform in OKT Studio. When the plot mainly revolves around human relationships and everyday life, there is always a chance that instead of engaging psychological depth and familiarity production will turn out to be a plane TV soap opera.By using the self-mocking introspection of our society’s recent past, the director manages to balance on this thin line. This juggling of laughter and pain, cruelty and love tunes the rhythm of the performance and holds the attention of the audience up until the end.”

Kamilė Pirštelytė, 7 meno dienos