Oksana
was 15 november on The Master and Margarita
“ I watched the performance on November 6 (2018). Naturally compared with the performances in Gorky and on Taganka, which I saw much earlier, but Chekhov lived to see the version in the Moscow Art Theater just now). Your woland is very good, the best of all. Nazarov saw only on the TV screen, but it turns out on the stage is full of charm! I was very impressed with the master - he is unique, that is exactly how I imagined him when I first read Bulgakov. Just super master! And further, further, as in the famous work “… .. lips of Nikanor Ivanovich and put Ivan Ilych on the nose ...” - if you could put Pontius Pilate of the Moscow Art Theater Gorky (Klementiev) to your Master (A. White) and Woland (Nazarov), yes, to add such a find as a pendulum clock from the Taganka Theater, yes to add on your glowing globe (by the way, the rest of the directors ruthlessly threw out this unique scene), and put the performance purely according to Bulgakov, without directorial twists (always wondering why invent something new, when u great Bulgakov is not a scene, a masterpiece that is not a dialogue something unique!) - just bring the text of the author to the audience, that's when ... .. Oh, dream, dream ... !!! Margarita did not see a decent one, and next to A. White, the actress was completely obliterated, and the demonstration of a good figure did not even save. I saw Gusev in the Moscow Council of the Idiot, I thought suddenly, maybe she could be Margarita. In conclusion, it turns out that from your production and the cast I singled out the most advantages. Satisfactorily
Elena
was 07 november on The Master and Margarita
“ Very talented work. I thank all those who took part in this. Bravo!
Anna
was 31 october on The Master and Margarita
“ Not the first performance that we visited at MKHT over the last year, but the weakest one. Gone in the intermission. Let me explain why: 1. There are many roles in the performance, and, apparently, it was not possible to form a homogeneous acting ensemble, someone constantly failed to get the impression that some of the actors were not drawn to stand on this stage. 2. White / Master has a problem with the scene. Half of his monologues can not be disassembled because of porridge in his mouth. The point here is not the volume as many here write. 2. The characters Azazello and Begomota fail as a whole. I do not know who played them, but the images were missing. 3. Nazarov this time disappointed, or tired, or tired. But neither the usual charisma, nor the involvement of the hall did not happen. 4. Chindyaykin / Pontius Pilat .. Hm, my husband and I initially discussed a strange choice. Imposingly and authoritatively, the prosecutor's office is not even tired of the world. 5. Margarita ... Nuuuuu she is so no, but from this actress did not expect another. Of course, the work for staging is extremely difficult, however, the staging of rejection itself did not cause, more questions to the writers because of the equal rhythm. But there are pluses. Absolutely amazing Trukhin / Koroviev. He is brilliant in this role. And the discovery for me is an actor who played Ivan Bezdomny. I wanted to watch his performances. In general, if you are not particularly picky, then you can go, you will see, the whole color of modern theater and cinema in one performance. If you are picky, then you go to Misha Porechenkov in the same theater.
I watched the performance on November 6 (2018). Naturally compared with the performances in Gorky and on Taganka, which I saw much earlier, but Chekhov lived to see the version in the Moscow Art Theater just now). Your woland is very good, the best of all. Nazarov saw only on the TV screen, but it turns out on the stage is full of charm! I was very impressed with the master - he is unique, that is exactly how I imagined him when I first read Bulgakov. Just super master! And further, further, as in the famous work “… .. lips of Nikanor Ivanovich and put Ivan Ilych on the nose ...” - if you could put Pontius Pilate of the Moscow Art Theater Gorky (Klementiev) to your Master (A. White) and Woland (Nazarov), yes, to add such a find as a pendulum clock from the Taganka Theater, yes to add on your glowing globe (by the way, the rest of the directors ruthlessly threw out this unique scene), and put the performance purely according to Bulgakov, without directorial twists (always wondering why invent something new, when u great Bulgakov is not a scene, a masterpiece that is not a dialogue something unique!) - just bring the text of the author to the audience, that's when ... .. Oh, dream, dream ... !!! Margarita did not see a decent one, and next to A. White, the actress was completely obliterated, and the demonstration of a good figure did not even save. I saw Gusev in the Moscow Council of the Idiot, I thought suddenly, maybe she could be Margarita. In conclusion, it turns out that from your production and the cast I singled out the most advantages. Satisfactorily
Bulgakov's novel, for all its textual and semantic bulkiness, has amazing flexibility for scenic interpretations. It seems that the author assumed that "Masters and Margarita" will be staged in the theater no less than his plays.
The new Moscow version, which he proposed and implemented in the Moscow Art Theater. Chekhov Hungarian director Janos Sas, and will understand the essence of the "Master and Margarita" to those who have not read the novel, and will not disappoint his fans. The performance turned out to be thorough and serious, and at the same time dynamic and exciting.
The place of action is a subway. Metal rails, a hollow, mist-tinged tunnel and a large "M" burning upstairs (in the scene of Satan's ball, it will turn over and turn into "W", the symbol of Woland). It's cold, uncomfortable, scary.
Fragments of action impassively fix video cameras. The feeling that all the inhabitants of this space is very lonely and the world around is not pleased with friendliness. The result was a story, mainly about the search for the heroes themselves, about doubts, attempts to find their own truth - with the help of someone's own or independently.
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Review
Manuscripts do not burn. So Woland said of the book of the Master, whom Margarita loved.
She was the wife of another. But I fell in love with the Master at first sight. And became his muse. I went to his home, read the chapters from his book about Pontius Pilate. Was his support in everything. Very worried when he disappeared.
She even had to be the mistress of the ball at Satan for her meeting with her beloved.
Only then Woland told her that the master did not deserve happiness, but deserved peace.
And Voland with his retinue did God in Moscow, better - hell, he knows what. Lived in a bad apartment on Sadovaya street.
Predicted that Berlioz will cut off the head of the girl-Komsomol. And then he got under the tram.
Woland sent the director of a variety show to the Crimea. He punished the crook-manager.
I spent a session of black magic without exposing it. Yes, so that the half-naked young ladies were forced to hide from passers-by. He said that Muscovites messed up the housing issue.
The play takes place in the Moscow metro. The unfinished subway station turns into an apartment on the Patriarch's Ponds, then into the ward in the hospital.
"Love jumped out before us, as a murderer in an alley jumps out from under the earth, and struck us both at once!" So the Master spoke of his love. Better not say.
“
I watched the performance on November 6 (2018). Naturally compared with the performances in Gorky and on Taganka, which I saw much earlier, but Chekhov lived to see the version in the Moscow Art Theater just now). Your woland is very good, the best of all. Nazarov saw only on the TV screen, but it turns out on the stage is full of charm! I was very impressed with the master - he is unique, that is exactly how I imagined him when I first read Bulgakov. Just super master! And further, further, as in the famous work “… .. lips of Nikanor Ivanovich and put Ivan Ilych on the nose ...” - if you could put Pontius Pilate of the Moscow Art Theater Gorky (Klementiev) to your Master (A. White) and Woland (Nazarov), yes, to add such a find as a pendulum clock from the Taganka Theater, yes to add on your glowing globe (by the way, the rest of the directors ruthlessly threw out this unique scene), and put the performance purely according to Bulgakov, without directorial twists (always wondering why invent something new, when u great Bulgakov is not a scene, a masterpiece that is not a dialogue something unique!) - just bring the text of the author to the audience, that's when ... .. Oh, dream, dream ... !!! Margarita did not see a decent one, and next to A. White, the actress was completely obliterated, and the demonstration of a good figure did not even save. I saw Gusev in the Moscow Council of the Idiot, I thought suddenly, maybe she could be Margarita. In conclusion, it turns out that from your production and the cast I singled out the most advantages. Satisfactorily
“
Not the first performance that we visited at MKHT over the last year, but the weakest one. Gone in the intermission. Let me explain why: 1. There are many roles in the performance, and, apparently, it was not possible to form a homogeneous acting ensemble, someone constantly failed to get the impression that some of the actors were not drawn to stand on this stage. 2. White / Master has a problem with the scene. Half of his monologues can not be disassembled because of porridge in his mouth. The point here is not the volume as many here write. 2. The characters Azazello and Begomota fail as a whole. I do not know who played them, but the images were missing. 3. Nazarov this time disappointed, or tired, or tired. But neither the usual charisma, nor the involvement of the hall did not happen. 4. Chindyaykin / Pontius Pilat .. Hm, my husband and I initially discussed a strange choice. Imposingly and authoritatively, the prosecutor's office is not even tired of the world. 5. Margarita ... Nuuuuu she is so no, but from this actress did not expect another. Of course, the work for staging is extremely difficult, however, the staging of rejection itself did not cause, more questions to the writers because of the equal rhythm. But there are pluses. Absolutely amazing Trukhin / Koroviev. He is brilliant in this role. And the discovery for me is an actor who played Ivan Bezdomny. I wanted to watch his performances. In general, if you are not particularly picky, then you can go, you will see, the whole color of modern theater and cinema in one performance. If you are picky, then you go to Misha Porechenkov in the same theater.
“ I watched the performance on November 6 (2018). Naturally compared with the performances in Gorky and on Taganka, which I saw much earlier, but Chekhov lived to see the version in the Moscow Art Theater just now). Your woland is very good, the best of all. Nazarov saw only on the TV screen, but it turns out on the stage is full of charm! I was very impressed with the master - he is unique, that is exactly how I imagined him when I first read Bulgakov. Just super master! And further, further, as in the famous work “… .. lips of Nikanor Ivanovich and put Ivan Ilych on the nose ...” - if you could put Pontius Pilate of the Moscow Art Theater Gorky (Klementiev) to your Master (A. White) and Woland (Nazarov), yes, to add such a find as a pendulum clock from the Taganka Theater, yes to add on your glowing globe (by the way, the rest of the directors ruthlessly threw out this unique scene), and put the performance purely according to Bulgakov, without directorial twists (always wondering why invent something new, when u great Bulgakov is not a scene, a masterpiece that is not a dialogue something unique!) - just bring the text of the author to the audience, that's when ... .. Oh, dream, dream ... !!! Margarita did not see a decent one, and next to A. White, the actress was completely obliterated, and the demonstration of a good figure did not even save. I saw Gusev in the Moscow Council of the Idiot, I thought suddenly, maybe she could be Margarita. In conclusion, it turns out that from your production and the cast I singled out the most advantages. Satisfactorily
“ Very talented work. I thank all those who took part in this. Bravo!
“ Not the first performance that we visited at MKHT over the last year, but the weakest one. Gone in the intermission. Let me explain why: 1. There are many roles in the performance, and, apparently, it was not possible to form a homogeneous acting ensemble, someone constantly failed to get the impression that some of the actors were not drawn to stand on this stage. 2. White / Master has a problem with the scene. Half of his monologues can not be disassembled because of porridge in his mouth. The point here is not the volume as many here write. 2. The characters Azazello and Begomota fail as a whole. I do not know who played them, but the images were missing. 3. Nazarov this time disappointed, or tired, or tired. But neither the usual charisma, nor the involvement of the hall did not happen. 4. Chindyaykin / Pontius Pilat .. Hm, my husband and I initially discussed a strange choice. Imposingly and authoritatively, the prosecutor's office is not even tired of the world. 5. Margarita ... Nuuuuu she is so no, but from this actress did not expect another. Of course, the work for staging is extremely difficult, however, the staging of rejection itself did not cause, more questions to the writers because of the equal rhythm. But there are pluses. Absolutely amazing Trukhin / Koroviev. He is brilliant in this role. And the discovery for me is an actor who played Ivan Bezdomny. I wanted to watch his performances. In general, if you are not particularly picky, then you can go, you will see, the whole color of modern theater and cinema in one performance. If you are picky, then you go to Misha Porechenkov in the same theater.