Tickets for the marriage of Figaro. Theatrical playbill - reviews about the play Stage director Vladimir Mirzoev

“How black thoughts will come to you, - uncork a bottle of champagne, or reread The Marriage of Figaro,” advises one of the characters in “Little Tragedies” A.S. Pushkin. Years and centuries have passed, but even today it is not a sin to take advantage of the advice of the great poet. The charm of the Beaumarchais comedy did not fade, its energy, excitement, irony, humor, virtuosity of intrigue seemed to have gained even greater sharpness and brilliance over the years. And although Figaro today is interesting for us not as a harbinger of revolution, which angered the ruling class in Paris in the era of the premiere of the play, the folk hero attracts with his independence, resourcefulness, restless spirit of the truth-seeker.

Crazy day ... The stylistics of the performance, probably, should be sought in the “crazy day” that fell on the heads of the participants in this story, when everything was intertwined, entangled, and thanks to the efforts of the hero, it was happily resolved, and the right of the first night, which previously belonged to the Count, is today faced with irreconcilability Figaro, a man of new times, new ethical laws. The conflict is in the contradiction of the modern intelligent personality with the customs and practices that have outlived their usefulness.

The artwork and costumes do not match the time the comedy was written. The director tries to present this story through the prism of modernity, depicting the mores of society, teaching, entertaining.

The director of the play, Vladimir Mirzoev:

The old masters liked to give two versions of the title of one text. Next to the magical "if", there is often a magical "or". This variability of theater and culture in general is dear to me. Moreover, the second part of the title of Beaumarchais's masterpiece could fall off, like the tail of our ancestor, as unnecessary. Madness is the main category we want to play with today. I would have removed from the poster both the "marriage", and even the intriguer "Figaro", if it did not confuse the viewer.

You used to stand in front of the ocean of classical drama and try to feel something, catch your wave. But this is not fashion, no, it is not a question of where the wind blows. When choosing a material, the main thing for me is the theme. In Crazy Day, I saw the opportunity for a very important conversation. About how a modern person is forced to submit to archaic practices, how the elite mentally does not keep up with a society that is rapidly being renewed. After all, the vector of time is still directed to the future. But Beaumarchais's anthropology is not didactic - it is a cheerful vitamin hidden among the sweet berries of eroticism, dressing up, and theatrical play. We, like children, swallow a juicy, clever text, not noticing its complex meanings.

Having easily pulled our heroes out of the era of feudalism, we, nevertheless, did not place them in the world of gadgets and free love. Our show is not a modernization in the strict sense of the word. But eclecticism, dynamics and, most importantly. The madness here is quite in the spirit of current postmodernism. Isn't it true that life itself today looks like a strange collage - of mythologies, customs, delusions. Therefore, Mozart and Rossini can easily drop in on a visit to the African leader, sit by the fire, and have a cup of coffee. Sometimes it is difficult to understand which century we are in: either in the middle of the 20th, or in the 17th, or in the 21st.

As Oleg Nikolaevich Efremov liked to say (in different situations): “What do you want? - this is life". And sometimes the phrase sounded differently: “What do you want? - This is a theatre".

I wanted to get to this show for several reasons. First, the performance was highly praised. Yes, I am wary of strong praise, but from some photos and interviews I thought it would be interesting to see the play. Secondly, Sergey Lazarev as Figaro. I was very skeptical about Lazarev the actor, to be honest. Then I saw an interview in which he said that he had been playing for almost 10 years in the theater! He was taken from the theater to a performance in this theater, and has been playing ever since. He even has 3-4 titles in the theater! In general, I decided to look at him. Third, Alexander Arsentiev! The same Billy Flynn from the musical "Chicago".
I really liked the performance, I can recommend it to cheer up and have a good evening.
I didn’t watch the tape with Andrei Mironov as Figaro, I didn’t read the play, to be honest, I had no idea what they would show me (this is how illiterate I am, I will correct myself as much as possible). I had nothing to compare with, I looked from scratch.
The first thing that amazes in the performance is the scenery in 4 tiers! The only drawback, but it is not significant: when someone runs along the fourth tier, the balcony sees only the legs (but rarely and insignificant heroes run there, mostly they ran away or entered).
The performance is dramatic, but with perfectly selected musical inserts, it brings even greater liveliness and dynamism to the action.
The cast is GREAT !! All play in the same lineup! How they play! Very good! Seriously to play such a story, not to stoop to hack-work and stupid hints and jokes is worth a lot for me. A little more specific on the program.
Figaro - Sergey Lazarev. I liked it very much! All my doubts are gone, I am very glad for Lazarev that he has a theater and roles besides concerts, and for myself that he considered an actor. Apparently, Sergei is actively engaged in speech before the performances, although rather in his voice, because it is one thing to sing into a microphone, another thing to say so that I hear everything from my penultimate row of the balcony (and I heard everything!). Perhaps these are just my assumptions, I don't know.
The role is definitely a success! Dodgy, cunning, sweet, kind, helpful - all in one person, it is shown wonderfully. Even at the end of the performance, when Figaro had a monologue for 5 minutes, I was a little scared if he would hold back. Held! The audience sat as if spellbound! And including me. Very good! It seems to me that it is good that I watched the play, when after the premiere about 15-20 performances have passed, when everything has already been tested.
Count - Alexander Arsentiev. Great! Everything came together: appearance, speech, manners, you can't imagine better) I would gladly look at him (and Lazarev too) in a different role, it would be very interesting (I hope I will not be disappointed with the performance, as I already had in this theater) ...
Of the female roles, of course, it is worth highlighting the Countess (Victoria Isakova) and Suzanne (Alexandra Ursulyak). The Countess has a very interesting intonation of a dying swan, but the mask periodically flies off at the right moment, which causes a reaction from both the audience and other heroes of the play. The costumes are wonderful! They look great, very beautiful, emphasize the figure. Suzanne is a really worthy Figaro couple) Super family will come out! They stand each other) It's a good duet.
In general, I liked everything (and not only the main characters, about whom I wrote a little), I liked everything, so I recommend watching, preferably from a good place (but the prices bite slightly). I would recommend and revise the performance!

Performers

Anna Evgenievna has about thirty films on her account, of which there are quite a few leading roles - Vika in the drama Cruelty, Dasha and Yulia in the psychological detective story Voices, Asya in The Heiress, Lena in the melodrama In Time of Trouble, and others.

His first works on this stage were Shpekin from the play "The Inspector General" and Fistach in "Testosterone". Now fans of the artist can see him in many repertoire performances - "The Scarlet Flower", where he plays Anton, - Amalia Balike, - Robin, - Ted Bundy, - Claude Riviera, Ivan in "Three Ivans", etc.

In the cinema, his debut work was an episode in the Russian-Ukrainian project “Kill Me! Please, ”filmed in 2004. Later he played Sasha in the melodrama "Prescription Happiness", an episode in one of the series "Law and Order", Sasha in the same series, Dyusha in "Wedding Ring", Oleg Isaevich in "Daddy's Daughters", Kostya in "Ranetki" , Sevu in the TV series "Katina's Love".

The artist immediately showed his talent and played more than two dozen roles on this stage. These are Gavrilo in The Dowry, Puss in Boots from the fairy tale of the same name, Charles Bovary from the play Madame Bovary, Aubin from The Lady's Tailor, Mario from Cabiria Nights, Tybalt from Romeo and Juliet, Bobchinsky and Derzhimord from Inspector ", the bishop from" Jeanne d'Arc "and others.

Now fans of Alexander Valerievich can see him in such performances as, where he plays Friedrich, "Gedda Gubler" - the role of Eulert, - Metkaf, "Treasure Island" - Billy Bons, "Christmas O. Henry" - Berman, - Kuvykin. In the production of Three Ivans, Sailors plays the role of Babadur, and in The Marriage of Figaro, Basil.

The artist successfully combines work on the dramatic stage with filming. To date, his filmography includes more than thirty-six films and TV series. In 2004, Matrosov starred in the detective story "MUR is MUR". Later he played Lepa in "Liquidation", a cavalier in "The Most Beautiful", Mishan in "Law and Order", Lech in "Turkish March", Uramanov in the action movie "Paid for by Death", Andron in "Atlantis" and other film characters.

In her fourth year, she was involved in the play "The Black Prince", where she met A. Feklistov - a month of rehearsals with him became for her equivalent to a year in the theater.

Alexey Igorevich began his artistic career with the roles of Anton from The Scarlet Flower, Oreste from Great Magic, Dobchinsky from The Inspector General, Ogre from the fairy tale “Puss in Boots”. Now he is engaged in such repertoire productions as "Treasure Island", where he plays the Crooked Morgan and Billy Bons, - the role of Antonio, "Three Ivan" - Miller, "Office" - Kruse.

His first film work was the role of Misha in one of the detective series Law and Order, filmed in 2007. Later he played an assistant investigator in the TV series I Am a Bodyguard, Young in the Bus, Gichko in Zagradotryad, Sanya in "Tender Meetings", Kostya in "Interns", Kesha in the "Group of Happiness", etc.

In the cinema, Alexander Arsentiev played more than sixty characters, including the main characters - Andrey in the melodrama "Under the Sky of Verona", Igor in the "League of Deceived Wives", Yakov in the military drama "Heavy Sand", Maxim in the melodrama "I'll give myself a miracle" , Chulimov in "Yurochka" and others.