“Mayakovsky” is a musical play directed by Alexander Rykhlova, appeared in the repertoire of the “moon.” Not the most obvious that could have been born on this stage, although after last year’s musical “the Seagull” with Nikita Presnyakov in the role now seem to be, you could expect just anything.
Photo: moon theatre
The beginning of the play: the crowd is going wild, marching to the music (libretto by Alexei Loseva and Alexander Lebedev), meanders, flows, changes form, while in the background He is watching her. Loud, tireless, impulsive, excessively-generous, he bursts onto the scene and fills the entire space, which once it becomes small. Reading poetry backhand, into the heart. He is destined to become a legend — it was meant to be. His name is Vladimir Mayakovsky.
Actor Andrew Koldychevo, plays Mayakovsky, making it virtually impossible: he manages to live this way, never sfalshivit. Around him as the center figure, are organized others — timid and Osip Brik (Sergey Demyanenko), and Vasily Kamensky (Dmitry Voronin) and David Burlyuk (Eugene Feldman) and Aleksei Kruchenykh (Eugene Skoczen) and Velimir Khlebnikov (Andrey Glushchenko). But they are all part of a bigger mechanism, while Mayakovsky himself does not fit into the system. The only one who gets him a worthy opponent, the same renegade as he is the progress. Played a scene from the Polytechnic, with duel (or, as he called it theatre Director Airat Tukhvatullin, “poetry battle”) for the title of king of poets. There Northerner reads his poetry from the collection “Promocije Cup”, at some point, balancing on the verge — whether because the mood dictates the game format battles, whether due to the fact that long-time star of “the moon” Dmitry Novitsky is a hostage of his previous images of the hero-lover, not a spiritualized incarnation of the poet ecofutures. In some moments, looking at him Northerner, it’s hard to believe that even in him, despite all his futuristic delights, there was so much ego. Nevertheless, it is Novitsky becomes the main antagonist and the most striking element along with Koldychevo.
As for female characters, with them all slightly more complicated. Familiar to many through the television series Veronica Lysakova in the play embodies a touching image of Elsa Triolet, but her sister, a fatal Lilya Brik plays invited actress Irina Medvedev, has turned out to be pretty decent voice. However, being a hostage of pop culture and associative thinking, not to mention how ridiculous, strange and even vulgar looks the scene of the shooting of the film “the Glass eye” — if performance is suddenly mounted a piece of “6 shots”, where he plays Medvedev — and the rest of the duet with Mayakovsky (and Osip Brik) it is going well. But Nora Polonskaya performed by Valeria Christiansen raises more questions: Director flattens its role to functions showing their relationship with Mayakovsky in passing, like devaluing their significance. It is difficult to imagine that this woman was the last love of the poet.
But what brings the play to a different artistic level, this is absolutely amazing discovery Director Rykhlova image of the crowd and how it reveals the image of the poet in their relationship. The many faces of the crowd for Mayakovsky here — not so much hostile society, many an abscess on his body, a part of him. The crowd finds its own voice and takes up the space that recaptures the right to join with the poet in communication. There are some truly beautifully choreographed and rhythmic scenes, when the crowd turns into something more than a function, in overwhelming force, forcing the hero to come to the obvious ending. And when its “moving time”, the scene remains scattered letters, folding in the name of “M-A-I-K-O-V-s-K-e-Y”, over which stiffens ominously huge target, firmly bumping into memory, if the symbol of the sun of the Russian revolution has always been under attack.