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Завещание Чарльза Адамса

Завещание Чарльза Адамса16+

Purchased earlier: 45
Москва, Тараса Шевченко наб., 29
02 h 40 min


"The will of Charles Adams, or the House of the Seven Hanged People"
scary funny comedy

Original plot - Vadim Volya, Oleg Glushkov and Olga-Maria Tumakova
Author - Sergey Plotov
Director, choreographer - Oleg Glushkov
Production Designer - Vadim Volya
Costume Designer - Olga-Maria Tumakova
Lighting Designer - Ivan Vinogradov
Composers - Sergey Bogolyubsky, Dariya Stavrovich

Glory to Charles Adams and his creations -
from the first line to the last point!
In the workshop Fomenko - premiere!
In the theater, loved by critics for their attention to the Word, for a thoughtful study of the texts and the air from which these texts are woven; for weaving verbal laces, for atmosphericity and “light breathing”, for famous pauses and intonations - a scary, funny comedy! Shamelessly entertaining and defiantly ironic; easy and wise, funny and touching. There are a lot of tricks and special effects, here they dance and sing enthusiastically. And here it is very frivolous to talk about the most serious, trying to find answers to the eternal questions of being and to figure out what eternal values are.
“The will of Charles Adams, or the House of the Seven Hanged Men” is a story invented specifically for the Fomenko Workshop. A group of like-minded people who make up the creative laboratory of the Moscow Royal Theater - director Oleg Glushkov, artists Vadim Volya and Olga-Maria Tumakova - offered the actors an experiment, a practical challenge: to talk on a given topic in an unusual language, using the aesthetics of black and white cinema and vintage comics.
But first there was Charles Samuel Addams - the author of the famous Addams Family (a family of freaks living in a weird and surreal horror world, well known to a wide audience in films, television and animated series). It was he who became the prototype of the main character. There was also dumb cinema, detectives by Sir Alfred Hitchcock, art noir stories, Tim Burton's Gothic fantasies, Snow White's tale and the story of Romeo and Juliet, and many other themes, ideas and characters, which we hope the audience will see and will appreciate. Based on well-known and even textbook images, the creators of the play came up with new characters for their history. And they were asked to talk about eternal and important questions: who are we? what are we? Are we good or bad? whose side are we on? what is the purpose and what is the meaning of our life? why this whole world, or how it is sung in the song of the play: “Why did someone put us here and now? ..”.
To discuss such serious issues, a deliberately frivolous form was chosen, ironically turning the whole thing upside down: here the funeral is ridiculous, and the ghosts are good; here vices become virtues, and virtues vices. The creators of the play define the play's genre as “scary-funny comedy”, however there is also a detective story, and vampuka, and mysticism, and elements of the musical, and even high tragedy.
For the performance a laconic palette of black and white cinema was chosen. Even the faces of the actors are deprived of colors - all the makeup in the play is also black and white. For artists who create each of their own performances as vivid and spectacular as possible (examples of that are “Alice in Wonderland” in the Fomenko Workshop, “Blue-Blue Bird” in the Theater of Nations and the musical “Everything about Cinderella”), the decision to make “Charles Adams's testament” monochrome was at least unexpected. But despite the black-and-white style, the spectacle is extraordinarily spectacular: it has a lot of visual tricks and special effects. Here the coffins themselves overturn, ghosts fly, monuments come to life and it rains. And of course, in the play, where the main characters are ghosts and ghosts, it was impossible to do without owls - these eternal guards on the border of darkness. All the special effects "live" and "real", made using subject animation, without computer graphics and other wonders of the digital era. When creating the play, no owl was hurt.
The music for the play was written by the leaders of one of the leading rock bands on the Russian stage, the SLOT group: singer Daria Stavrovich (Nuki) and guitarist Sergey Bogolyubsky.
The performance includes: Vera Strokova / Daria Konyzheva, Nikolay Orlovsky / Vladislav Tashbulatov, Anatoly Goryachev, Polina Ayrapetova, Dmitry Rudkov, Kirill Korneychuk, Alexey Kolubkov, Maria Bolshova, Yury Butorin, Ambartsum Kabanyan, Rosa Shmukler, Elena Voronchikhkhina, Elena Vorchikhkhina, Elena Vorchikhukhich, Elena Voronchikhukhikh, Ilya Butorin, Yelena Butorin, Rosary Shmukler, Elena Bolshova Voinarovsky, Alexander Michkov, Dmitry Zakharov, Pavel Yakovlev, Alexander Morozov

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