Emotionally strong and deep performance. And very relevant. Laconic in the scenery and props, but very expressive. The chamber atmosphere on the small stage also enhances the impression. The game captivates from the first minute and does not let go until the last. Would definitely recommend it!
Gathering for this performance, I assumed that the whole evening I would sit and admire exclusively Tatiana Mukhina and Alexey Annenkov. So they both like me! But I have never seen them together, and here is a unique case! Because the actors involved in the rest of the roles are no less beautiful here! At first I was struck by Anatoly Morozov, playing Alfredo. What a reincarnation! I immediately immediately felt the flavor of the Neapolitan streets with their equally colorful men like Alfredo. And what a contrast with the "Louis-Stalin" that I had already seen in Moliere! Bravo! Then it was the turn to surprise Xenia Thunder (Rosalia). God, I was so fascinated by her heroine that I didn’t immediately realize that she was the very same actress in front of me that showed me the once sophisticated and sublime Sophia! And when in Diana (Kristina Isaykina), in this young and frivolous “fatal” beauty, I recognized the distant features of “Juliet”, I began to look at her game, and I had to admit that Christina Isaykina is no longer an ordinary young actress. In general, now you understand how difficult it was for me at this performance, because I eagerly absorbed every little thing, fearing to miss something particularly beautiful! But there were also a lawyer (Mikhail Zheleznov) and the maid Lucia (Lana Krymova) And, of course, the sons of Felumeny! Umberto (Sergei Annenkov), Ricardo (Lev Malishava) and Michele (Evgeny Markov), who himself has four children for a minute! :) So it’s not that bored, there was no time to sigh! Moreover, the plot is very eventful and very different situations. After all, this is Italy! Southern Italy! Naples! And the corresponding passion! Marriages, divorces, betrayals, intrigues and conspiracies :) But back to the main characters. Philumena and Don Domenico Tender, caring, fragile in appearance, but passionate, fighting and with a steel character, the heroine Tatiana Mukhina seemed to easily solve any problems of life and is no less easily controlled with servants and with matured children and with Don Domenico . But ... Her strength is not unlimited. And now she is already broken, suffering and resigned to the heaviest blow of fate. Humbled, but not lost. How exactly did Tatiana Mukhina manage to convey all this palette of feelings and emotions! But Don Domenico Alexei Annenkov did not give her the brightness! Beautiful couple! How I believed him every minute! And how he "rolled up with talk" to his sons! And how beautiful they are both in the finals! And the tears of happiness in my eyes are just a reflection of the feeling that I saw on the stage. Bravo! Go to the theater!
Strong, played with taste and passion thing. Actors are good professionals who have managed, in the course of the action, to smoothly move from eccentrics and hard satire to lyrics and back, without stretch and loss of tempo. Interesting set design, great music. Performance sincerely recommend.
The magnificent play of actors filled with tension and full immersion in the image leaves an indelible impression of the performance. And the intriguing, detective story keeps in suspense throughout the performance. The whole life of the protagonist is shrouded in a web of guilt feelings because of a beloved wife who died. The director shows the difficult emotional state of the main character not only through his addiction to alcohol, but also through his main occupation of digging out old graves ... I think there are no indifferent to the production!
Were very disappointed with the production and play of actors. No enthusiasm, no funny scenes, the actors, as if serving a sentence. But the main character apparently either did not play pranks on the boy or, because of his age, had already forgotten what childhood and self-indulgence are. There was not a pleasant aftertaste, from the understanding that they shamefully dismissed the hack, hiding behind a children's audience!
The decision to go to this performance was almost instant. Because it concentrated, if not everything, then very much of what I love for Armen Jigarkhanyan's theater. First of all, the director. For the first time I met his work in the “Queen of Beauty", then there was the "Tram" Desire ", to which I was already meaningful. And I ran to the" Lonely West "! And, of course, I could not miss" Moliere " secondly, the main role in the play is played by Alexey Annenkov, who both hit me on the spot in Molly, and has since been included in the favorite actors of this theater (although he shares this honorary title with another actor). - the performer of the role of Armanda. Young, bright, she is very successful in character roles. but it looked quite harmonious and in its place. A young fatal beauty. I never read anything about the performance before going, having decided to see it with the eyes of an ordinary spectator, not an avid theater-goer. And the more my surprise was when I saw people in leather cloaks. The first impulse was to wipe glasses. Second, immediately open the play and make sure that leather jackets are a director's idea, not Bulgakov's text, because only lace collars, wigs, etc. were in memory. And only after seeing Louis too similar to Stalin I exhaled. Bulgakov, of course, was bold, but ... In this case, it was Sergei Vinogradov who decided to combine the two epochs, thereby creating direct parallels between the plot of the play and the life of Bulgakov himself. After all, it is true, they are very similar. Stalin, of course, was well acquainted with the work of Bulgakov. More from the play "Days of the Turbins". And of course, the fate of Bulgakov depended on the mercy of the ruler. And he also fell into disgrace of the already Soviet “Kabala of the devout,” which criticized him mercilessly. Did Bulgakov think that he was writing a play "from himself"? I do not know. But the feeling that the imminent ban on this play, and the harsh criticism that followed it, made him even leave the Moscow Art Theater, he seemed to have misunderstood. However, history shows that many creative people, endowed with true talent, found it difficult to get along with the powers that be, and with society, and in personal life too. So here. The performance, of course, about Moliere. There are no deviations from the author's text. It’s just that Moliere has gone beyond the time corridor. And without the "wigs" it is no less interesting! Vinogradov really managed to mark with a huge bold not only the enduring relevance of the fate of a single great Talent, but also to make the audience think about what Bulgakov himself thought of. And Alexey Annenkov played in such a way that he did not leave the spectator even a hint of doubt. However, he is not the only one who plays brilliantly in this performance. Bravo! Bravo to all! Go to the theater!
Great performance! Actors with heart and soul! Well done! Loved the dance with the pumpkin !!! So much internal content that everything is clear without words! Bravo, Zheleznov Michael! So much expression! The boy is a real devil, a beautiful plant! Bravo, Burov Stanislav! Especially with the use of acrobatics! Excellent played Sam Pogarsky Denis, a real "brain of villains" and the head of a small gang. Bravo!!! Thank you very much for the play, Sergey Vinogradov !!! I remember you very well in the series "Countess de Monsoreau". I think, as a director, you are beautiful! We went with the whole family and had a great rest from real life! Thank! Nataliya Yudina 89104092712
Kind, slightly naive performance, after which there is the impression that at the end of the events, everyone will be healthy and happy). In the course of the play, only the goose that the freight train has moved suffers. The silent and quiet deaf life of the deep Romanian province does not even affect the appearance of the pure and unblemished girl Mona, and then the loving and devoted her husband. After this performance, it seems that the unhappy Mademoiselle Kuku, as a woman, finally finds her happiness with her colleague Marina. The music teacher will complete his oratorio, and the courier train will stop at this station for at least half an hour, so that the metropolitan residents, clogged with vanity, will breathe the air of universal good and peace. This version of the famous play is a session of psychotherapy. Go, if you feel bad, and you will immediately feel good. For the first time I read the text of this play in the distant year of 1972, I watched different versions of this play, including a musical, in different languages, but this pious, blissful version was first seen. Obviously, she has the right to exist!