The musical comedy “Super gaýyn ene” by Uzbek playwright Sanjarali Imamov was staged at the Magtymguly National Musical and Drama Theatre several years ago, yet every performance still draws a full house, proving that audience interest in this unusual family story remains strong.
The Turkmen and Uzbek peoples share common spiritual values. Mothers and mothers-in-law hold unquestionable authority within the family. But when a mother-in-law also has a difficult character, life becomes challenging for everyone—especially for the daughter-in-law.
The play opens with a lively dance by three elderly women who burst noisily into the courtyard accompanied by musicians. Choreographer Jemal Bazarova associated their entrance with the dominant role of mothers-in-law in the lives of daughters-in-law.
In Merdan’s household, everything seems as it should be—a good wife and growing children. One would think life should be joyful. However, his mother, the mother-in-law Myuyasan, envies the wealthier neighbors. As a result, she decides to bring a second wife into the household for her son—a young businesswoman. Opposing Khajan’s decision proves impossible, so the son, his wife, the businesswoman, and even the mullah devise a clever plan. They stage a fake wedding and move Khajan into a new house with modern renovations and a fountain in the yard. Soon, however, the mother-in-law begins to long for her former life, realizing that wealth does not bring happiness. She confesses this to her son and asks her daughter-in-law for forgiveness. In response, they reveal the secret—that everything was staged so she could understand her mistake.
Once again, the three elderly women burst onto the stage with a dance, throwing off their shawls and transforming into young dancers. Their performance symbolizes the playful deception.
Some viewers of “Super gaýyn ene” might say that such situations do not happen in real life—and it is good that they do not. The main message lies elsewhere: in the respectful and caring attitude toward mothers and mothers-in-law. Otherwise, such circumstances could permanently damage family relationships. Thanks to the playful trick, everything resolves amicably.
The production is directed by Nury Hudaygulyyev. This is his second play based on Uzbek dramaturgy, and both have been highly successful. Perhaps the secret lies in the fact that the director is deeply familiar with Uzbek life. While studying at the acting faculty of the A. Ostrovsky Tashkent Institute of Theatre and Fine Arts, Nury Hudaygulyyev lived for five years in a densely populated district of the city and absorbed Uzbek culture. Every character in the play is well known to him, and when characters are drawn from real life, the performance becomes authentic. Thanks to the director, all the actors involved in the musical comedy delivered excellent performances. The role of the main character, Khajan, was performed by Honored Artist of Turkmenistan Aysoltan Kovusova (understudy: Honored Artist Narjan Berdiyeva); her son was played by Oraz Orazov (understudy: Dovran Saryev); and the daughter-in-law by Nurgozel Gurbangeldiyeva (understudy: Sapargul Veliyeva).
Composer Derkar Jelilov emphasized the Uzbek national character through the musical score. The traditional music conveyed a cheerful and vibrant mood, leaving the audience greatly delighted with the comedy “Super gaýyn ene.”
