“ Young guys and girls with honest and open faces. They carefully and fairly deftly move furniture, strain the vocal cords, some are exposed - in general, they fully act as an instrument of "someone else's, unkind will." They are sincerely sorry. But have not any of them ever wondered if he is doing something wrong in life? The production as a whole is an empty and unprofessional thing (I can not call it work). There is no directing. The material, of course, is not easy (civil war). And the very prose of Babel is not for the faint-hearted. But why turn human pain into "comic verses"? What type of new art does that require? I think it is wrong to mask the lack of talent spetsefektami, nude nature and tricks with sound and scenery. Music is also past (it is not surprising, the composer with the director has a long creative tandem). Choreography in general for the company is rather weak. Although in this setting, she should, in theory, draw (exception - the girl who performed the general number in the first row, perhaps she is a choreographer: the difference with the rest is striking). In terms of acting, I will only note the scene with the letter. Monologue of the son, narrating about revenge to the father and drawing white crosses. This scene was on the level. But another scene with the same actor ("the cartridge on me must be stricken") is spoiled by his partners. In general, but should you wait for something more from the student's skits? Probably not, but I do not rule out that Babel himself would have cut all this self-activity into small cabbage.

“ About the play "Cavalry" Dir. Maxim Didenko Center for them. Meyerhold (1.11.17) This performance feels like a tightrope walker performing a complicated and risky number. And at the moment when he was already convinced in the class of skill, he breaks down - so ingenuously that you do not know whether to sympathize with him or resent it. Find a stage equivalent to the Babel word - the task is not a template one. Speech norm of this author is difficult to overcome till now. But it seems that Maxim Didenko managed to find the source code. On the field of well-tempered episodes in the excitement of violent dances and choral gulbis, the unsubstantiated explosive youth of the actors is thriving. The queue of actor's pieces and feints, the ensemble character of the performance, solo "tricks", and the overall pressure of the performance - realize, as well as possible, a free stream of Babel's text in the rebellious Sabbath. And an empty stage box for such a game - the best place for any scenographic transformation. Where the tricky rhythm of the transitions from stage to stage fascinates, like the tricks of a skilful illusionist. A special impression of the play-list of the production, the more valuable is that the performance of the composer is Ivan Kushnir. In some places, musical intonation breaks to the heights of a truly dramaturgic speech. But, for all the gentleness, more than two-hour performance, you involuntarily begin to worry: will the director be able to withstand the degree of tension before the final codes? Of course, a stunning text requires a strong stage gesture. And maybe not all the symbolism of the rich action was deciphered from the first time, but the ruthless nature of the mutiny is revealed in such frank fullness and naked abundance that the actors feel sorry for the selfless waste of such a resource. In a daring move, of course, there is a lot of theatrical courage, but it seems that such things are taken on a breathless breath, like a shot. Any excess - lowers the status of the expression. Babel understood this perfectly and had the secret of a sufficient word. Even the fact that the more an open body was displayed, the less clearness of the spoken words was observed - it makes you smile. But, with all that, we must admit that the total number of rooms (thoroughbred dominants of the show) deserves to be given something selectively for encore in the conservative traditions, on applause. A similar tradition does not seem to exist in a dramatic theater, but I think that "Cenarmia", for all its extraordinary unusuality, can afford it. But in general, excellent, skillful work. The total score for the five-point system: 4+, in decimal: 9.

“ My three-year-old son and my mother went to the play. They really liked it. Thank you!

“ It was an excellent performance. It's hard to say who liked it more - me or my son ??? Beauty in simplicity! And not in a motley, as it usually happens at other children's events. But not here. And the music is live !!! And everything is so close. Soon we will have you again :) Natasha and Vasya.

“ Wonderful!

“ We really liked it: simple, accessible, emotionally! Very high rate and concentration, do not come off !!!

“ Money, sex, power are the three pillars on which journalism is held. It began long before our century, it was in the history of Siegfried and Brunhilde. The story of Siegfried and Brunnhild in the play by Xenia Zorina, masterfully narrated by the actors of the Center for them. Meyerhold is a story not only about the fact that love exists. This is the story that love - it is bloody, it needs death, many deaths - one after another. Love needs revenge. A story about what will happen if you endure pain for decades. About how they fall in love - sharply, quickly - once and for all. That there is only one reciprocity, and near - a whirlwind of irresponsibility. This is a story about power - the mother's power over her children, her brother over her sister, her beloved wife over unloved husbands. And about the money for which you can treacherously give your daughter to someone who is stronger. She is about a strong man, becoming weak before his dreams. About what a strong woman and a weak man can do. A story about a debt that can be broken if love demands it. 5 actors tell us a story. Each about himself, each his own, all together - a story about Siegfried and Brunhilde. There is no need for scenery and costumes, there is no need for stage movement and light. Here there are eyes, voice, intonation. And the palm of the hand on the table is neat or desperate, so much talking about the love of Siegfried and Brunhilde.

“ Excellent performance with bright actresses! Maria is beautiful! The director is brave!

“ The only plus of the production - it's short. Is presented as a genre of story retelling, but neither the actors nor the director could find and find the thread that will unfold the plot to the viewer. Is completely uninteresting.

“ Unusual presentation of information and an interesting story.

“ The format of the play is new, the guys played juicyly

“ Was on the play 13.02.2015. Many thanks to the director Vyacheslav Chebotarya and the actresses Alexandra Kuzenkina and Anastasia Pronina for the excellent work. Bravo! As a filigree game of young actresses captivates spectators. Forgetting everything in this world, only you, and only the girl's monologue, represented by the virtuoso play of Anastasia and Alexandra. I wanted to watch and listen endlessly. I was with my daughter and her friends. At the end of the play we cried! This performance I will put in a coin box of the best performances! Bravo!

“ I was at this play a year ago and still can not forget it. Light, two girls on stage. They play amazingly. At first, the audience laughs, but as the tension increases, they become silent. Believe, you can not forget this performance. So far, the final lines in my head "one day we will all be happy ... one day we will all be happy ...".

“ Perfectly! I recommend! I was with my son (10 years). Shin laughed like a horse, I was happy that the performance was cognitive. Special thanks to the actors, the boys "burned".

“ Two young actresses, a small scene of the Black Hall Center. Meyerhold, .. To recover and be able to talk about what I saw and heard, I had to wait two weeks. I watch a lot of performances, but only this confession - how else can I characterize? - has evoked in me all possible feelings and emotions Brilliantly! Thank you.

“ Terrific! Many thanks to the actors, the director and the whole team! In delight, all-all - both children and adults! Be sure to tell about your friends! It is so interesting, fascinating, with humor told about the exploration of the cosmos. We watched without stopping! The son came home and grabbed the children's encyclopedia, looking for who such Giordano Bruno! You guys are great!

“ Very strong setting. The very moment when modern art does not surprise with its emptiness, but pleases with strength and depth. 45 minutes you live experiencing one person. 45 long minutes. The girls played in such a way that at the end they wanted to stand up and embrace them. You come out full of your thoughts, feelings and awareness. I saw myself in them as I had never seen before. Thank you!

“ The performance is fun, witty, cognitive and touching. My grandson liked everything, especially Galileo. Thanks to the Center and the creators of the play.

“ Was at the play on 12/02/2015. I liked the performance! Videorahd, stylish design of the scene. And most importantly - a good setting and the game of young actors. In a short time we were shown us, modern residents of Moscow with our recognizable problems. Interestingly, not boring! Thank you!

“ Thank you, everything is very interesting and informative for children.

“ The hall is packed to capacity, many young people are sitting on the floor. The guys play violently, the action captures, although they sing not always legible, and even nudes are beyond measure. In the program it is written: the role is played by Brusnikin students, and this depersonalization unites young actors and young Budyonnovtsy soldiers who furiously fought for the revolution. Budennovtsy did their job: from the existing mud forged an "invincible and legendary" army. But the performance gives incompleteness, in the finals there is no certainty. And yet this reproach to the production: although Babel used the deliberately down-to-earth language of the narrative, he managed to do without foul language, and the present could not resist, so as not to insert obscene language (

“ Wonderful performance

“ The performance is very pretentious, in my opinion, while doing masterly, in one breath, on this wonderful student enthusiasm, which I so appreciate and love. I was only upset about him: the guys sometimes, trying too hard, do not start singing, but shout loudly, so that you can not hear them any more, swallow phrases, flirt a little. But in general a strong adult performance, very heavy for both actors and spectators, a painful performance where pain is already overflowing. What else I want to note, to my great joy, this performance demonstrates all facets of acting for the graduates of our theater universities, and this preparation is magnificent!

“ Terrific, exciting, exciting! The play looks on one breath! Guys, you fellows! For a long time I did not experience such pleasure!

“ Incredible, terrific, touching performance! Young people try on old age and make it so talented and believable that, in my opinion, half the action wept. Although the hall perceives very differently - I'm roaring, and the audience laughs. The monologues of old men and old women are replaced by cute musical scenes, and in the end rock'n'roll is fire! Thanks to Viktor Ryzhakov for this wonderful performance! I admire how talented and versatile actors in it play! Thank you!!!

“ You can criticize in the play a lot (illegibility articulation, low quality vocals, lack of bright acting work, etc.), but the impression of the performance, the senses are reported and working. Here is such a unique, controversial, but working innovative language :)! Thank you.

“ A wonderful director's idea: to sing and dance Babel's prose. In my opinion, this is the only way to put it on stage. Actors, despite their youth, and, perhaps, thanks to her, the director's plan was fully realized. Talented, lively, real, non-glossy, the last big rarity on our stage! If the performance was going on for 24 hours, I would not have noticed it. Tatiana (Moscow)

“ Cantalomy is amazing in the truest sense of the word. It is impossible to take a breath from the very first scene to the finale. A text that is terrible with its actuality is presented very intricately, sometimes, it can be too conceptual, but to unfold each metaphor is a separate pleasure. It seemed a bit superfluous especially the epatage scenes, but we can not but admit that the general impression of this is especially lively, disturbing. The days have passed since the presentation, and seen so far does not leave.

“ Handsomely. And a little sad :)

“ Very dramatic. Nothing extra. How to remember.

“ It was wonderful. I was pleasantly surprised by such a quantity of wonderful music. The atmosphere behind the scenes is inexpressible. Thank you!

“ Visited the play on the 25th of September. The musical material is gorgeous on the record, but it makes you feel lifeless. Oleg Nesterov - chic storyteller, thank you very much!

“ Good action sound very loud need intermission