It is symbolic that for the premiere on the stage of the Center of drama and directing Roshchin and Kazantsev appointed last season as artistic Director Vladimir Pankov chose known — the repertory — the play of one of the founders of theatre of Alexey Kazantsev “Old house”. This is a tribute to the master, whose punks started his directorial journey, painstaking work of serious drama. The play is not simply recreates the atmosphere of 60-70 years, what’s more — he shows us a time layer: the characteristic features of Soviet life, people and their actions. “Old house” Pankov densely populated: it involves not only actors and CBD SounDrama, but also invited Elena Yakovleva, Andrey Zavodyuk, Elena Shanin, Peter Markin, Tatyana zbrueva and set designer was the chief painter of the Vakhtangov theatre — Maxim Obrezkov. Details observer “MK”.
Photo: Olesya Good.
Horizontal stretched space of the scene. A lot of doors, if possible. Upstairs is the attic where ghosts of the past looming. Bottom: cabinets, tables, chairs and several rooms in a communal apartment. Upstairs — quiet and a downstairs vanity, hell, no peace.
The old house stands here as a metaphor for time. It lives several families, children, occur quarrel. Modern Romeo and Juliet — Oleg Krylov and Sasha Glebova — the reason: their families are in eternal enmity and dislike to each other, how can you not love the intelligentsia of the working class. A painfully familiar story: a girl from a dysfunctional family becomes a darling sissy son, krasnolimanska. And then the tears, and curses, and eternal parental veto on their relationship.
But not only parents are a barrier to young. Involuntarily, the other woman becomes alluring neighbour Julia M. (performed by dancecostume Elena Yakovleva), a loving and beloved head of the family Glebov, Pavel Ivanovich (Andrei Zavodyuk). Director punks saparalieva situation, showing that love has no age and boundaries. This eternal but doomed, sentenced to time — love sing to us from the stage: “Une vie d’amour…”
In this story, everything is repeated, as in the ring composition: here you leave the house, forget the briefcase, go back, remember. But you changed someone else- in the same house, in your place — just different. Admittedly, Vladimir Pankov fascinating works with a space of memory and temporality, while holding three parallel love stories: Oleg and Sasha-teen (touching Nikita Zherebtsov and Faina Koloskov), Oleg and Sasha-adults that seem to exist outside of time, playing the same story as 12 years ago (excellent vocal and acting work of Paul Akimkina and Anastasia Sychev), and also (as a mirror reflection of their failed love) — Yulia Mihailovna’s and Pavel Ivanovich.
Photo: Olesya Good.
Ensemble cast here — harmonious mechanism, instituted by the hand of an experienced master. For example, Peter Markin, recently shone at the Taganka in the musical “Sweeney Todd”, transforms into a lecturer Igor Sergeyevich — tries on the comic, characteristic way. But the precision with which plays a troubled Thais Petrovna, Oleg’s mother, Lenkom’s star — actress Yelena Shanina! How accurately and skillfully arranges his role of her rival Yulia Mikhailovna, Elena Yakovleva as these two women represent two possible scenarios of love, two female type: women-mothers and women…not the mistress, but of a fellow member. The heroine Jakovlevoj — she’s a storyteller is an intelligent woman, subjected to universal condemnation and persecution…than not variations on a theme Kuzeevskaya “Dishonor” on a theatrical basis? It sounds particularly relevant now, vrasta in the news agenda — as well as all the classics (and the play Kazantsev could definitely be considered a classic of domestic dramatic art), it raises the eternal themes and models situations that are doomed to repetition.
In this performance there are no scenes that look artificial, even the episodes with the clown domicile seem appropriate — like into melodramatic line of healthy Comedy, growing in the life of the culture of laughter. A good Director’s decision looks and use in the performance of polyphony — where each character, like the echo of another, but in different time planes. Built polyphonic finale, looks particularly powerful not only because of the actor’s nerve, but also music: music, as with all performances Pankov is the frame of the play. Melody freezes, freeze, heroine, lined up in a row on the top tier, and the lights go out — the latter wraps the darkness the figure of Elena Yakovleva… This is the final, but in the memory of viewers, like a photographic portrait will forever remain the past: “Eternal love,” the laughter of lovers and the impending demolition of the old house.