Hello! Represents the incredible history of Dmitry Bogacheva - a romance physicist who turned the passion for music into a matter of life and brodve brotherway to Moscow. Dmitry's life path is worthy to be the basis for the script for the film. 25 years ago, he could be a talented pianist, could study research at the Kurchatov Institute or go to work in the United States. His choice was unexpected and even at that time incomprehensible: Dmitry decided to introduce Russia to the culture of the musical.

The first serious production is "Nord-Ost" - the tragedy turned around: the terrorists captured the building on Dubrovka. During the capture of Dmitry lost his mother. And again - he would retreat, seeing a bad omen, return to scientific work and not to tempt fate. But no. Today, Dmitry Bogachev is the most successful theater producer of Russia, but admits that so far every new thing begins with the question itself: "SDUU or not?" Dmitry Bogachev, general producer of theater company
"Stage enterrettenment"

For more than a decade, the best Broadway stories on the Moscow stage puts the team of its company "Stage Enterteint". Hundreds of people work on one play: Actors, dancers, musicians, arrangers, sceners, directors, dance producers. Shaws are held with constant success. This result led him not only to hard work, character and luck, but the fate itself.

- Dmitry, let's in order. By education you are "physicist", not a "lyrics". Where did you get any interest in musicals?

I am always interested in music. I graduated from a music school in the Piano Class in Minsk, even occupied prizes on the competitions of young pianists. And then not-expected for everyone and himself decided to enter the physico-technical institution. However, the music classes did not throw. In the evenings we went to the evening school at the conservatory. After I worked in the Kurchatov Institute in the laboratory of electron microscopy, it was engaged in the study of the structure of metals and was in perfect delight from his work! I wanted to become a scientist, a researcher, I even had the first scientific publications, and at home still lies an invitation to one of the American universities.
Dmitry Bogachev before the premiere of the musical "Phantom Opera", 2014

- So why did not become scientists?

The time was not easy, the salary did not pay for months, there was not enough money, and my family and I were interrupted by institute coupons for food. At some point he pressed so that I had to think: what to live? Then I had a hobby: at the university we are in Nastya, my wife, organized concerts of the author's song. We even had their own trio, we performed, went to the Pershina Festival. And once organized in the hall of the Palace of Culture of the Institute of Steel and Alloys a large concert of the very popular then jazz trio of Kramer, Garananyan and Kuznetsov. There were almost one and a half thousand spectators. And unexpectedly for themselves we earned money.

Then the first company appeared, the firm, which consisted of two people - me and the chief accountant of Lena. We were engaged in the author's song, created the project "Songs of our Century", which united the most famous and popular bards, released several discs, showed television consolements on federal channels, organized touring tourists in Russia, Europe and the United States. It was the first experience of a serious commercial approach to a non-commercial author's song. Despite the financial crisis of 1998, the project was very successful. The album "Songs of our century" occupied the first lines in sales ratings, sometimes overtaking albums of the most popular pop stars - Philip Kirkorov and Alla Pugacheva. I was incredibly proud of it.

In parallel, all this time I was engaged in the work of the Bard Duet Alexei Ivashchenko and George Vasilyeva "Ivasi" - then they were all then called.

Dmitry Bogachev and his wife Anastasia and Philip Kirkorov at the premiere of Musikla "Phantom Opera", Moscow, 2014

- It is them who owns the idea to put the Musical "Nord-Ost"?

Yes. They caught fire the idea to make a musical on the story "two captains". They wrote libretto and music, the first Russian musical was born - "Nord-Ost". The budget of the production, it seems to me, was about four million dollars - at the time a huge one! It was a completely crazy adventure, which no one believed, besides us. Put a musical with a Broadway scope, collect every day the full halls in the little-known Hall of GPZ on Dubrovka - it seemed incredible.

And success was stunning. But, despite this, now, saying "Nord-Ost", we remember the tragedy on Dubrovka ...

Unfortunately, yes. It so happened that during one of the ideas, the actors and the audience were hostages of terrorists. Usually I came to the theater to the beginning of the performance, controlled the quality of service of the audience, looked at attendance, heard in the intermission, which is talking about the production of people. And in that ill-fated day, I was invited to another performance - the musical "42th street" in MDM, which, ironically, the first theater of the company "Stage Enterteint" and, in fact, my second home.

Boris Yeltsin was present at this presentation. In the intermission I was on the mobile, the assistant director Dasha Erms and confusedly whispered: "Dima, we captured us." It was one of the first calls from the captured theater. I approached Elaqin's guard staff and told them what happened. They very quickly and professionally worked. We went to the Kremlin to the operational duty officer in Moscow, then on Lubyanka, then in the operational headquarters on Melnikov Street, where I spent the next three days and nights.

- Tragedy touched you personally. In the list of dead - your mom. How did she get there?

She was already retired, she did not want to sit at home. Mom loved the theater and helped, working as a capperiner service hall. She liked to watch performances, communicate with the audience, liked the atmosphere itself ... And that evening she was there.

- Many would regard what happened as a sign that should not be engaged in musical. And you?

And I regarded it differently. I thought it would be betrayal in relation to those who did not watch the performance in that terrible evening. Prior to these sad events, journalists, critics, all around said that the musical is an alien genre. And after the tragedy, he had no chance at all. But I did not want to believe in it, because it contradicted my ideas, experience and intuition. If the musical is popular in Europe and America, it means that they will receive recognition among Russian audience. The musical is the most cheerful and most honest, open to the perception of the genre. How can I not like it?

After "Nord-Ost" I went to London to comprehend the secrets of the commercial theater and become a real producer. Then a new musical appeared - "12 chairs", which we put together with Alexander Tigalo and Tigran Keosayan. Unfortunately, this setting has not become successful. But in world practice there is a common thing: there are dozens of productions on the same Broadway, but the units are becoming popular.

- Who makes a decision, what performance do you put next time?

Zorro Music, for example, failed in London and Paris. And in Moscow, after a fair processing, he won the heart of the public and walked with the anchelages. This is due to the mentality, culture that form perception. Everything is important, even time when the performance is set. Philip Kirkorov set Chicago in the early 2000s, but the mass public at that time was not ready for such an unusual aesthetics. As a result, the musical was conmensed cool. Last year, we had a decree with daily anchlats for eight months. The same happened with the musical "Mermaid", which was quite calmly adopted on Broadway. We changed the decoration of the production, director, even the music, in fact by creating a new "mermaid". And the audience two years in a row with pleasure went to this musical to our second theater "Russia", and the Broadway producers welcomed such a deafening success. I am proud of our own production of "sounds of music." The great American director Jack about "Brian recently confessed in an interview with the Associated Press, which created the American production of" sounds of music "under the impression of the Russian play, which was touched by him to tears.
Dmitry Bogachev with actors of "Zorro" Dmitry Yermak, Valeria Lanskaya, Anastasia Makeeva and Gleb Matvechuk, 2012
Dmitry Bogachev with actress Elena Charquiani and soloists of ABBA Group at the Moscow Premiere of Musicle Mamma Mia!, 2012

- "Stage Enterteintment" - almost the only company, which is very tightly cooperating with theatrical monsters and unconditional leaders of West End and Broadway. Why is that?

These are the two World Music Center, the genre was born there. So we must learn from the fact that others have rewined for many decades. They are more experienced, it makes no sense to challenge it. I am often reproached in what I am engaged in replicas. This is not quite so. We have our own performances, such as the "sounds of music" or "mermaid". They are recognized as experts: Last year, for example, we received a prestigious theater award "Golden Mask", and this year I was invited to become the first foreign member of the League of the Broadway Producers. Now I dream about the time when our productions will appear on Broadway and constitute a worthy international competition.
Dmitry Bogachev and British composer Sir Andrew Lloyd Webber,
author of the musical "Ghost Opera"

- Brave claim! Are there any specific ideas or while these ideas are ephemery?

I invented put on the musical scene a beautiful fictional history of Anastasia - the youngest daughter of the last Russian king, which survived the legend and after amazing and incredible adventures found their happiness. People at all times wanted to be this way, not wanting to believe the sad truth of life. In the musical it became possible. In the 1930s, a play was written on this topic on Broadway, after a few decades a film was filmed, for the role in which Ingrid Bergman received Oscar. And after a few years an animation film "Anastasia" was released, whose music simply assumed the scenic life of this plot. I was very fascinated by the idea of \u200b\u200bputting the musical on the theater scene, and I infected the creative team with my enthusiasm, which under my leadership has been working on this material on Broadway.
Dmitry Bogachev receives the "Golden Mask" award for the creation of the Music "Mermaid". On stage - with actors of the production by Dmitry Yermak, Natalia Bastrovy and Evgeny Zaitsev

For the fourth time the magazine "Hello!" On the pages of our site - and this time readers are represented by a wonderful interview with the producer of the Music Dmitry Bogachev. Interesting facts from the life of the famous producer, the features of the musicals in Russia, the difficulties of the past, the history of success and plans for the future - about this you can read in an interview with Marina Savelya. We strongly recommend.

Dmitry Bogachev: from "Nord-Ost" to "Ghost Opera"

Hello! represents an incredible story of a romance physicist who turned
passion for music in the work of life and brodves brodway to Moscow

Dmitry's life path is worthy to be the basis for the script for the film. 25 years ago, he could be a talented pianist, could study research at the Kurchatov Institute or go to work in the United States. His choice was unexpected and even at that time incomprehensible: Dmitry decided to introduce Russia to the culture of the musical. The first serious production is "Nord-Ost" - the tragedy turned around: the terrorists captured the building on Dubrovka. During the capture of Dmitry lost his mother. And again - he would retreat, seeing a bad omen, return to scientific work and not to tempt fate. But no. Today, Dmitry Bogachev is the most successful theater producer of Russia, but admits that so far every new thing begins with the question itself: "SDUU or not?"

For more than a decade, the best Broadway stories on the Moscow stage puts the team of its company "Stage Enterteint". Hundreds of people work on one performance: actors, dancers, musicians,? Arrangers, sceners, directors, dance stageders. Shaws are held with constant success. This result led him not only to hard work, character and luck, but the fate itself.

- Dmitry, let's in order. By education you are "physicist", not a "lyrics". Where did you get any interest in musicals?

I am always interested in music. I graduated from a music school in the Piano Class in Minsk, even occupied prizes on the competitions of young pianists. And then unexpectedly for everyone, he decided to act in the Physico-Technical Institute. However, the music classes did not throw. In the evenings we went to the evening school at the conservatory. After I worked in the Kurchatov Institute in the laboratory of electron microscopy, it was engaged in the study of the structure of metals and was in perfect delight from his work! I wanted to become a scientist, a researcher, I even had the first scientific publications, and at home still lies an invitation to one of the American universities.

- So why did not become scientists?

The time was not easy, the salary did not pay for months, there was not enough money, and my family and I were interrupted by institute coupons for food. At some point he pressed so that I had to think: what to live? Then I had a hobby: at the university we are in Nastya, my wife, organized concerts of the author's song. We even had their own trio, we performed, went to the Pershina Festival. And once organized in the hall of the Palace of Culture of the Institute of Steel and Alloys a large concert of the very popular then jazz trio of Kramer, Garananyan and Kuznetsov. There were almost one and a half thousand spectators. And unexpectedly for themselves we earned money. Then the first company appeared, the firm, which consisted of two people - me and the chief accountant of Lena. We were engaged in the author's song, created the project "Songs of our Century", which united the most famous and popular bards, released several discs, showed television consolements on federal channels, organized touring tourists in Russia, Europe and the United States. It was the first experience of a serious commercial approach to a non-commercial author's song. Despite the financial crisis of 1998, the project was very successful. The album "Songs of our century" occupied the first lines in sales ratings, sometimes overtaking albums of the most popular pop stars - Philip Kirkorov and Alla Pugacheva. I was incredibly proud of it. In parallel, all this time I was engaged in the work of the Bard Duet Alexei Ivashchenko and George Vasilyeva "Ivasi" - then they were all then called.

- It is them who owns the idea to put the Musical "Nord-Ost"?

Yes. They caught fire the idea to make a musical on the story "two captains". They wrote libretto and music, the first Russian musical was born - "Nord-Ost". The budget of the production, it seems to me, was about four million dollars - at the time a huge one! It was a completely crazy adventure, which no one believed, besides us. Put a musical with a Broadway scope, collect every day the full halls in the little-known Hall of GPZ on Dubrovka - it seemed incredible.

And success was stunning. But, despite this, now, saying "Nord-Ost", we remember the tragedy on Dubrovka ...

Unfortunately, yes. It so happened that during one of the ideas, the actors and the audience were hostages of terrorists. Usually I came to the theater to the beginning of the performance, controlled the quality of service of the audience, looked at attendance, heard in the intermission, which is talking about the production of people. And in that ill-fated day, I was invited to another performance - the musical "42th street" in MDM, who, ironically, the first theater of the company "Stage Enterteint" and, in fact, attended by Boris Yeltsin in this submission . In the intermission I was on the mobile, the assistant director Dasha Erms and confusedly whispered: "Dima, we captured us." It was one of the first calls from the captured theater. I approached Elaqin's guard staff and told them what happened. They very quickly and professionally worked. We went to the Kremlin to the operational duty officer in Moscow, then on Lubyanka, then in the operational headquarters on Melnikov Street, where I spent the next three days and nights.

- Tragedy touched you personally. In the list of dead - your mom. How did she get there?

She was already retired, she did not want to sit at home. Mom loved the theater and helped, working as a capperiner service hall. She liked to watch performances, communicate with the audience, liked the atmosphere itself ... And that evening she was there.

- Many would regard what happened as a sign that should not be engaged in musical. And you?

And I regarded it differently. I thought it would be betrayal in relation to those who did not watch the performance in that terrible evening. Prior to these sad events, journalists, critics, all around said that the musical is an alien genre. And after the tragedy, he had no chance at all. But I did not want to believe in it, because it contradicted my ideas, experience and intuition. If the musical is popular in Europe and America, it means that they will receive recognition among Russian audience. The musical is the most cheerful and most honest, open to the perception of the genre. How can I not like it? After "Nord-Ost" I went to London to comprehend the secrets of the commercial theater and become a real producer. Then a new musical appeared - "12 chairs", which we put together with Alexander Tigalo and Tigran Keosayan. Unfortunately, this setting has not become successful. But in world practice there is a common thing: there are dozens of productions on the same Broadway, but the units are becoming popular.

- Who makes a decision, what performance do you put next time?

- "Stage Enterteintment" - almost the only company, which is very tightly cooperating with theatrical monsters and unconditional leaders of West End and Broadway. Why is that?

These are the two World Music Center, the genre was born there. So we must learn from the fact that others have rewined for many decades. They are more experienced, it makes no sense to challenge it. I am often reproached in what I am engaged in replicas. This is not quite so. We have our own performances, such as the "sounds of music" or "mermaid". They are recognized as experts: Last year, for example, we received a prestigious theater award "Golden Mask", and this year I was invited to become the first foreign member of the League of the Broadway Producers. Now I dream about the time when our productions will appear on Broadway and constitute a worthy international competition.

- Brave claim! Are there any specific ideas or while these ideas are ephemery?

I invented put on the musical scene a beautiful fictional history of Anastasia - the youngest daughter of the last Russian king, which survived the legend and after amazing and incredible adventures found their happiness. People at all times wanted to be this way, not wanting to believe the sad truth of life. In the musical it became possible. In the 1930s, a play was written on this topic on Broadway, after a few decades a film was filmed, for the role in which Ingrid Bergman received Oscar. And after a few years an animation film "Anastasia" was released, whose music simply assumed the scenic life of this plot. I was very fascinated by the idea of \u200b\u200bputting the musical on the theater scene, and I infected the creative team with my enthusiasm, which under my leadership has been working on this material on Broadway.

Interview & Copy Marina Savelyev
Photo: Archives Press Services

Photos

* Dmitry Bogachev in front of the premiere of the musical "Phantom Opera" in MDM, October 2014

* "We are with my wife together for 25 years and so" sprouted "in each other so much that we sometimes do not need to discuss something - we understand everything literally without words. Nastya for me is not only wife and friend, but also a full-fledged business partner - some Our productions successfully produce she, "says Dmitry Bogachev about his wife. In the photo: With his wife Anastasia Bogacheva and Philip Kirkorov at the premiere of the musical "Ghost of the Opera", 2014

* Before put the "Ghost Opera" in Moscow, Bogachev received the approval of the author of the musical, the Oscar Prize laureate Andrew Lloyd Webber, who personally met with the team's team. On the photo on the left: Dmitry Bogachev and Andrew Lloyd-Webber, London, 2014

* Work on the musical Mamma Mia! Also conducted with the participation of authors - the Swedish group of ABVA. At the ioto at the top of the left: the soloists of the Bjorn Ulvelus group and Annie Fred Lingstad with the actress of the musical Elena Charquiani and Dmitry Bogachev, 2012. In the photo at the top of the right: Dmitry Bogachev with the actors of the Musical Zorro Dmitry Yermak, Valeria Lanskaya, Anastasia Makeeva and Gleb Matvechuk

* In 2008, the Mamma Mia Musical Music-sprayed Miasick! He was recognized as the most popular in the history of the musical in Russia. And in 2014, Dmitry became the first foreigner who went to the league of Broadway producers. In the photo: Dmitry Bogachev, 2008

* Now in the Moscow Palace of Youth, the joint exhibition "Stage Enterteinthenment" and Hello!, Dedicated to the decade of collaboration. All these years, we wrote about new productions of the company, conducted unique shooting and interviews while working on performances. The exhibition in MDM will last until February 14.

* Sometimes it is not easy, but I'm used to difficulties. Often I work for overcoming, it causes some excitement in me. Sometimes I look and think: "Well, what about or not?" I must. In vain, what did you study? I am convinced that to be a producer - it means to have a special worldview, and this is impossible to learn at the institute, "says Bogachev about his work

* In 2014, the Music "Mermaid" was marked by the prestigious theater award "Golden Mask". In the photo: Dmitry Bogachev and actors of the play Dmitry Ermak, Natalia Bystrov and Evgeny Zaitsev

Producer Dmitry Bogachev - In an interview with "FM"

The musical of the Russian producer "Anastasiya" entered the United States to the "Club of Millionaires" - so on Broadway they call the productions whose fees exceed $ 1 million every week. As a result, Anastasia entered the top ten most successful Broadway musicals on par with such performances as "King Lion" and "Hamilton". The premiere of "Anastasia" took place on Broadway on April 24, 2017. The musical is set according to the same animation film. The producer of the musical - Dmitry Bogachev is a graduate of MEPI, in the past - an employee of the Kurchatov Institute, now - General Director of the Russian division of Stage Entertainment. He became the first foreigner adopted in the league of Broadway producers. In Moscow, he set the adaptation of such musicals as "Chicago", "music sounds", "Mermaid". How did the Russian producer managed to become popular for Broadway? Dmitry Bogachev replied to the Observer "Kommersant FM" by Arine Moroz.

- You became the first Russian producer who was accepted in the Broadway League, how did it manage to achieve this?

- This was preceded by a long path. Since 1999, I have been engaged in the musical professionally, despite the climate in the country, the economic situation. Unfortunately, the sad events associated with the terrorist attack accompany this process. The musical at one time was sentenced as a genre as a whole, that he would never get popular in Russia. But I somehow systematically and purposefully practiced. 15 years have passed, today no one has no questions about the musical - it is hardly the most popular theater genre, the most massive theater genre. You can meet the musical in the repertoire of the theater on Taganka, the Theater named after Pushkin, Lenkom.

- Now it is. But if we talk about history: a terrorist attack on the Musical "Nord-Ost", and you took part in creating a performance, then "Chicago" fails ... but you decide to continue. Why?

- This solution had two motifs. One irrational motive associated with my personal tragedy in life - I lost my mother in Nord-Ost. And at that moment it seemed to me that if I would give up to emotions and simply everything broke, it would be in a certain sense, probably betrayal. It seemed to me so maybe I came up with myself it.

I decided that, contrary to everything that happened, you need to continue, myself, maybe something to prove.

I even think sometimes that I had to go to the hall that I probably had to make some kind of act at that moment. And I did not commit it. I then left the producer company that did Nord-Ost, where I was a commercial director, I was just hard to stay there. But for those with Alexander Tsekalo and Tigran Keosayan decided to put something funny. It was the musical "12 chairs", we showed it about 200 times. We worked with a good material - with excellent verses of Alexander Vul, beautiful music Igor Zubkov. It turned out a cool absolute material, I still review him, I have on the video, and all the time I return to the thought, whether it does not put it again. And after "12 chairs" I decided - it was time to raise me my professional level and approach the question more systemically, professionally. I did not have enough knowledge, I did not have enough experience, I understood that in Russia this experience did not get anyone and no way, only by own mistakes, and why pass this path to himself, if you can go and learn from professionals, what I did - In 2002 I went to London. It was a program for art managers in the field of performing arts, which was organized by the Soros Foundation, Ford Foundation and the British Council. A number of grants for the winners from the whole country were allocated. And I was lucky, because I became one of something 12, whether 15 people from different regions. I met Francesca Canti there, which was then led by the whole direction of the Performing Arts in the British Council in Moscow. She loved musicals very much, and apparently, I somehow managed to conquer her heart with my active position and a desire bordering passion, to make this genre popular in Russia. After 15 years, she came here to the premiere of "Ghost Opera". I introduced it to the creators of Charles Hart and Richard Stillgo - these are people absolute legends for her, and here it has already come my turn to acquaint her with them. And she told them how she helped me, as in 15 years I justified her hopes, created here, in fact, a full-fledged professional commercial theater. As a phenomenon in Russia, he once existed before the revolution - entrepreneurs, Private Opera Zimin. But at the time of the Bolsheviks, the whole theater, absolutely all ceased to be the theater commercial entrepreneurship, entrepreneurial and became a state subsidy subsidized by 100% of the state budget with all the advantages and minuses.

- What is the main lesson did you get in London?

- I looked at how much the musical industry was developed there, as far as we strongly lagging behind the European, in particular the English commercial theater, American subsequently. They really perceive it as a combination of art and business. When I meet here with professionals, they do not understand how this can be combined, as in general, can be married in principle. In fact, it is possible as it turns out. As soon as you start thinking not only about the implementation of your creative ambitions and tasks, but begin to correlate it with the expectations of the audience, here it appears a point where art and business comes into contact. And at that time, another lesson I learned for myself - this is the value of my own reputation, its convertibility in the international market. Answering your question, as I was accepted in the Broadway League - this was how accepted.

For 15 years I managed not to blocked anywhere, not to get into any dubious scams, do not play any games, including with state regulations, with the state, with officials, although I had a lot of such opportunities, not to serve any orders - Political, nor commercial - honestly engage in your business and be independent.

And it is very valued in developed civilized societies, where sometimes it means more than success, because you trust the intellectual property of your product. They do not want to work with the people incomprehensible to them.

- And let's go back to the very beginning. How did the transition from the Kurchatov Institute in the theater?

- Since childhood, I was fond of classical music, and still she is fond of her, but now as a consumer than the performer. As a child, I played piano well ...

- Therefore, entered the MEPI.

- And therefore, too, probably. In general, in childhood I filed certain hopes as a pianist. In me, it was already ripe such a rebellious feeling to switch suddenly on something more male, because it seemed to me that physics is for the real men. And here by finishing mythi, I went to the Kurchatov Institute to work as a young scientist. And then hunger came in the country. The state enterprise, almost a leading scientific center in the country, which occupies, in my opinion, 10 hectares of land in Moscow, on the territory of which nine atomic reactors are located. I remember the moment: the fifth month of the salary of the salary, and I have a certificate in my hands that we did not pay a salary - she was given in accounting, so that we could present it in public transport controllers, and the controller said that, they say no money, Then do not drive on the train. It all was sufficiently humiliating, but I didn't care, I was young, undemanding, I could have been doing such an existence, if I had a daughter, a family for which I was responsible. At that moment I decided to switch to some kind of commercial activity to start making money. It was a difficult decision for me, because I still loved what I was doing, I loved my electronic microscopes, I had plans. But the reality corrected all the plans. And I decided that if I really do something, then I would better make money on what I really love.

- Sometimes in Western summaries there is such an important graph - failure, because failure is an experience. What project was the most unsuccessful?

- At first I was shy to talk about my failures. I thought it was galloping. But recently realized that now about his failures I say as calmly, somewhere not even without pride, as well as about your luck. By the ratio of good luck and failure, I probably somewhere about a quarter of failure. If we talk about musicals, the musical "12 chairs" was unsuccessful, there was a lot of mistakes done in creative plan, there was a very good material, but it was not very successfully implemented on the scene. I think that there were mistakes and mine, and Tigran Keosayan as director, and Alexander Tsecalo, and organizational mistakes were also. Tigran, being a film director, first of all, tried, apparently, to put a performance by movies. After that, I made certain conclusions, I realized that I wanted to be the only leader. There must be a captain who can make a final decision. Be sure to listen, be sure to work in a team and trust professionals. But at the same time there should still be a distinct sense of leadership. I, becoming such a leader, however, continued to make mistakes. Musical "Cats", which was next, also, in general, was unsuccessful. From an artistic point of view, it was a wonderful statement. But this is not so much my merit, how much merit Andrew Webber, Gillian Lynn and the Creative Team Trevor Nanna. Errors There were more marketing plan. For some reason, I decided that the musical was so in my own itself should be popular and in demand, which can be opened in March, which we have done. That is, for some reason, I suggested that the summer of the theatrical season suggested that we would hope for us, and we will survive it easily. People will still come and buy tickets, despite the weather, on vacation. But that did not happen. March We sold well, April is good, and summer failed, we went to such a deep minus that in September, in October we did not recover from him, and closed a year later somewhere - in February with a loss of € 2.5 million. It was a lesson for me. I did not repeat such mistakes. Now all our musicals open in October to use the highest season - from October to the end of April.

- Have you ever put your money in the performances or did you manage other people's headings?

- There is a golden rule on Broadway, which in such a parody and humorous manner was articulated in the musical of The Producer: the producer should not invest his money in musicals under any circumstances. The producer must work with other people's money, his role is to attract money, attract investments, attract sponsors, primarily investors. So arranged the Broadway World. This makes it possible to be less preissary in relation to its own product.

- Absolutely different model: Invested his money - all your profit. And here?

- Broadway business is designed in such a way that the LEAD Producer is so-called, which comes out with the idea, creates a project along with the authors of the work, then inviting investors, and implies its intellectual contribution as part of investments. That is, he receives a profit on a par with other investors, without investing real-acting. So the Broadway model is arranged. On Broadway 40-50 Broadway theaters. The number of people who want to put in these theaters their musicals are much more. Theaters receive not only a fixed lease rate, they still receive a percentage of fees. In the contract of producer and theater for rent, the right is fixed by the right to terminate the contract at the time when the fees fall below a certain mark, and will last at this mark, for example, a week or two. The theater has the right at any time to close the production, because there are some more producers who want to put something in this theater, and often their ideas are more productive, more profitable. The most severe competition is the third lesson who learned in London. Honest, however, cruel competition is the key to unattainable quality, which we still grow here and grow. What is happening on Broadway now is not clear to the Russian viewer, nor the directors of theaters, nor Khrasuk, nor the Minister of Culture. There, without any administrative installations, without any regulation, without any funding, the most, probably, a productive favorable environment is formed. Pieces, dramatic performances, the products of the highest quality are on Broadway. This Darwinian selection led to such evolution, the emergence of masterpieces.

- It turns out that state financing kills our theaters?

- I would not say so unequivocally.

- We formulate differently: state financing does not give to develop our theaters?

- If government financing coexisted simultaneously with a normal competitive environment if the theaters were set in conditions when they, receiving partial, maybe public funding to ensure some basic needs, at the same time they were forced to fight for the viewer, for sure it was Would stimulate the theater to create a very high-quality, interesting product.

State financing does not give our theaters to develop.

- Who are investors of Russian musicals?

- Until now, all the money was from one company Stage Entertainment, our shareholders, now there are two of them - this is a private person, founder of Stage Entertainment and co-founder Endemol Jop Van Den End, Dutch entrepreneur, and direct investment fund, international, very large CVC Capital Foundation . In Broadway, our performances, in particular "Anastasia," are also engaged in fundraising, they collect investments from a large number of investors, the amount of investment changes - from $ 100 thousand to $ 2-3 million. Capitalization of "Anastasia" on Broadway was about $ 15 million, from Which is actually Stage Entertainment invested $ 2 million, while still LEAD Producer.

- In Russia, there are no domestic investors yet?

- No, but this is my next Challenge. After we admitted the genre itself on the Russian soil and created a commercial theater, which is able to profit a profit, this moment has come - to attract investors, showing it that the commercial theater can bring money and can be considered as a tool for investment on a par with metallurgical companies, banks or funds. But there is a nuance - all the same on Broadway there is a certain pool of investors who understand how the theater works, and they do it consciously. I was very gratifying recently to make sure Leonard Blavatnik, for example, began to investigate professionally in the Broadway Show. I am all dreaming that someday he will decline before investing in Russia too. But in the Broadway, he invests, by the way, very successfully.

- If you had the opportunity to return for many years ago and give some advice to yourself with younger, what would you say?

- I think I spent quite a lot of time on some kind of bustle unnecessary. I would still rationally treated at your time. I quickly treated my health, probably, you need to reconsider these priorities now, because it turns out that the state of the human body affects everything else - to work, on the psyche, on the chain. And I now clearly understand that I lack time. Now, if I, let's say, it would be in the same situation, with these same achievements, for example, about 35 years, then I would have even more time for overclocking. And today, I would have already released a couple of more successful statements on Broadway, perhaps the center of its activity there. By the way, it is so far a dilemma - I burst out. I want to work here and continue to put production, here our viewers, here the grateful public, here is my country, here the roots, here our culture. But at the same time I really want to be where I am very well understood where I want to be, because I am surrounded by professionals there, from which I really want to take an example - on Broadway. And I am now in some intermediate state, at the same time thinking about there, and about here, realizing that, probably, you can not exist in two hypostasses, at some point you need to choose. I do not know what kind of choice I will do, maybe in a few years.

- Your nearest premiere in Moscow - Musical on the well-known film "Ghost" with Demi Moore and Patrick Sussei.

- It was the London statement, which then moved to Broadway. She looked very modern - modern American music, newly written, with some good drive. I then looked another movie several times, and I realized that this film, this plot was so geniant myself, it was completely thoughtful, but it was so correct and built that, even knowing how everything ends up and knowing what is happening, you are all Equally you can not break away from the screen. Because, probably, in this story very emotionally laid a lot - how love overcomes death. By the way, the final is also very curious - it seems like Happy End, but he is so sad - what the Russian viewer loves. This is such a very correct chosen, in my opinion, the product.

15-year history of Broadway musicals in Russia. About this Cultural Observer Grigory Zaslavsky Communicated with producer Dmitry Bogachev In the program "Service Login" on Radio "Watch FM".

Zaslavsky: In the studio Grigory Zaslavsky, good afternoon. And the guest of our today's transmission is a famous producer Dmitry Bogachev. Hello Dmitry.

Bogachev: Hello, dear listeners. Hello, Grigory.

Zaslavsky: I understand that you broke up completely, well, it has already been long enough and it is known that you parted with Stage Entertainment. But as in the "Forest" play is Ostrovsky, when Gurmajskaya, talking to the neighbors, she says: "Yes, I was disappointed in marriage, but not in men," you broke up with Stage Entertainment, but not with musicals. And the new performance, as I understand, which you are doing in Moscow, it is partly the continuation of this your production activity, because it is not a Russian musical, it is quite the Broadway products, but not quite the musical.

Bogachev: Let me, yes, I will be surprised now.

Zaslavsky: Let's. This is the most important thing in general the quality of theatrical leader.

Bogachev: There "S No Business Like Show Business, as it comes in a famous song from a famous film, the film of the same name, in which Marilyn Monroe. Yes, this profession is to amaze, our task is to amaze the public, and we will continue to amaze it. And the first surprise for The 15 years of the existence of the MDM Theater ... This year is 15 years old from the moment we started to put there even to Stage Entertainment Musicals with Russian artists, in 2003 we set out there with Alexander Tigalo and Tigran Keosanyan Musical "12 chairs". And After a year and a half, I founded the Russian company Stage Entertainment as part of a major international theater holding, and then were the following 15 years, for which we put it more than a dozen, probably, the productions of the Broadway musical or musicals of the Broadway type, but these were invariably musicals spectacular, bright, Interesting, musically rich.

And first for the first time in 15 years, since we come to the new phase of the life of the MDM Theater, to the new phase of my professional career already outside Stage, again outside Stage, we decided to surprise the public by showing the first not musical on the main musical scene of the country, which MDM's theater became the same 15 years. But nevertheless continuity still exists, because it's all the same Broadway show. We simply decided to show another line of Broadway and remind our audience, our listeners that Broadway is not only musicals, for the most part of the musical, but not only musicals, and a dozen one and a half of the beautiful places of classics and some of the Musical experimental performances, but invariably very high quality. The whole world classic from Chekhov to Scott Fitzgerald, Arthur Miller, well, that is, everything is both American classics, French, English, there is Russian, and also in daily mode.

But, however, as a rule, the cycle of the life of plays, it is much shorter than musicals, it is usually three, there are four or five months of rental. And only a play, which now will be speaking, called "a very funny comedy about how the show went wrong," beats some inconceivable records of popularity, it demonstrates on Broadway without a small two years in a row, which was a full surprise for The Broadway Theater Public and theatrical Community and for its authors and producers of the British. Because the play is this English at the place of birth and first was set in London.

In London, she is still going, for three years. And later, for this period of time, for three years of daily rental in London (and a year and a half, almost two on Broadway and in 20 countries of the world), this play, this comedy received all imaginable and inconceivable theatrical awards, including three main - it is French "Moliere", this is English "Lawrence Olivier" and this is a Broadway American "Tony". We hope for the Golden Mask.

Theatrical producer, General Director of Broadway Moscow, founder of the Russian division of the international theater company Stage enterrettenment in 2004 and its general director from 2004 to 2018. The Broadway League League, the Laureate of the Golden Mask Theater Prize, winner of the "Culture of the Year" award.

1994-1997 - Society of the Russian Scientific Center "Kurchatov Institute"

1997-2000 - Producer, General Director of Ai VI SI

1998-2000 - led the popular music project "Songs of our Century".

2000-2002 - As a commercial director of the Musical Music "Nord-Ost", the Broadway model of the rental model in the Russian market of entertainment and implemented innovative marketing and sales strategies.

2001-2003 - was one of the initiators and pioneers of the development and implementation of branched computer systems for selling tickets for spectacular activities and in particular the creation of a computer system for selling tickets to the city's office of the Moscow Directorate of theatrical and Entertainment Cass (MDTH).

2003 - Together with partners, he created and headed the production company "Russian Musical", which carried out the production and rental of the musical "12 chairs". The stationary version of the performance for a year went in Moscow, mobile - was shown in St. Petersburg.

2004 - founded and headed by the Russian Theater Company "Stage Enterteint" - a subsidiary of the international theater holding Stage Entertainment. From 2004 until recently, Dmitry Bogachev was a producer of musicals Cats, Mamma Mia!, "Beauty and the Beast", Zorro, "Sounds of Music", "Mermaid", Chicago, "Phantom Opera", "Singing Under the Rain", "Cinderella" "," Vampire Ball "," Ghost ", as well as Ice Musicles" Nutcracker "," Snow Queen "," Sleeping Beauty "," Three Musketeers "," Wizard Oz "," Aladdin and Lord of Fire "," Sinbad and Princess Anna. "

Since 2005. The year, Stage Enterteintyment, performs the daily rental of Musikov's performances at the Moscow Palace of Youth (MDM Theater).

In 2011. Dmitry Bogachev conceived to create a new musical "Anastasia", based on the animation film 1997 and the movie of 1956 of the 20th Century Fox, as well as on historical events and documents. As the author of the original idea and creative concept of the musical "Anastasia", he invited composer Stephen Flaherty, the author of the songs of Lynn Arens and the playwright of Terrens McNelli to create a musical production. Chitka and creative workshops of the new musical took place in the "New 42nd Street Studios" on Broadway in July 2012. Angela Lansbury, Aaron Tweat, Kelly Barret, Patrick Paige, Aaron Lazar and Julia took part in the workshops.

In 2012. On his initiative, and under his leadership "Stage Enterteint" turned the largest cinema of the country "Pushkin", located on the Pushkin Square of Moscow, to the new musical theater, restoring the historical name of the "Russia" building. From this point on, the "Stage Enteritement" has become the largest theater company of the country, its musicals go 8 times a week in two theaters - "Russia" and MDM.

In 2012. initiated the launch of a new non-profit project "Moscow Broadway" - the educational educational program aimed at the development of the genre of the musical in Russia, assistance to creative and administrative theater workers in acquiring better world experience in the genre of the musical from professional colleagues from other countries and providing opportunities for artists to participate in Master classes and creative workshops of the world's leading leaders.

IN 2014 During preparation for the formulation of the Ghost Opera Music, the technical reconstruction and renovation of the MDM Theater was carried out. The number of places increased to 1803, which made MDM with the most spacious modern European level theater in Moscow.

IN 2014 yearhe became the first in history by a foreign member of the League of Broadway Producers, having received an official invitation to the League Organizing Committee on the results of the voting of its members.

In 2015. Dmitry Bogachev became the initiator and creator of the Avenue of the Musical Stars in Moscow in Pushkin Square. Alley of Stars was opened on September 6, 2015 during a gala concert "Moscow Broadway"

In 2015. year Broadway Moscow has been registered as an independent commercial theater company aimed at creating original and licensed theatrical performances in Russia and international cooperation.

In 2016. Within the framework of the Moscow Broadway educational program, he organized a visit to Moscow and a public lecture of the legendary producer and the titled director of the Broadway performances of Harold Prince. Together with the American Nonprofit Organization, The Broadway Dreams Foundation organized and held a 10-day creative program of the Broadway Dreams master classes, which ended with the final concert-revision about a hundred professional and novice Russian and American artists.

In May 2016.the world premiere of the musical "Anastasia" in the Theater "Hartford Stayj", in the city of Hartford, Connecticut.

In 2016. The producer company "Ice Musical" was founded, which is produced and renting original ice musicals around the world. In 2016-2017, Aladdin and Lord of Fire Musicle "in Belarus, Latvia, Estonia and Russia took place.

In 2016. Broadway Moscow has signed an agreement with China Arts and Entertainment Group on the introduction of the "International Theater League of the Silk Road" (The Silk Road International League of theatres).

24 April 2017. The premiere of the musical "Anastasia" on Broadway, in the Broadhurst Theater. Shortly after the premiere of the musical was nominated for the Outer Critics Circle award in 13 nominations, on the Drama Desk Award in 9 nominations and the Tony Prize in two nominations.

In 2018. The key partners of the theater company "Broadway Moscow" are the "Theater MDM" and Fancy Show.

In August 2018. of the yearthe company "Broadway Moscow" carries the office and its productions to the MDM Theater.

October 6, 2018 Broadway Moscow Represents the first in the history of the Russian scene a dramatic performance of daily rental - Broadway comedy "... the show went wrong".