Theatrical poster - reviews of the play. The play Crazy Day, or the Marriage of Figaro Crazy Day or the Marriage of Figaro Vakhtangov actors
When choosing a performance, I played it safe - I wanted something guaranteed to be funny, and so familiar was a guarantee that I would not jump blindly into some unknown genre and would not suffer for three hours on my legal day off.
I love to watch "Crazy Day or the Marriage of Figaro" staged by the Theater of Satire on the channel "Culture". It's shown about two times a year, and I've watched it about two hundred times already. I know every phrase there. It was filmed in 1974, already faded, but I believe that someday it will be painted like old cartoons, because it is an immortal production. Many actors are no longer with us, but... but... they are with us. Just imagine that in the role of Count Almaviva Alexander Shirvindt, and in the role of Figaro - nothing less than Andrei Mironov!
So how is it possible to surpass this production?! Of course not. But not really.
In the Vakhtangov Theater, the role of Count Almaviva is played by Maxim Sukhanov (something familiar!?, yes? That's what I thought too). The whole show revolves around him. His every word and phrase is unexpected, funny and original. At the same time, the play is played quite close to the text, not counting newfangled innovations, such as "there is such a strange echo ..." - "this is the Echo of Moscow." Even knowing this play by heart, you sit in suspense about WHAT exactly Sukhanov will say, or HOW he will say it! In a word, I am delighted with him, how great he is! He is brilliant.
In fact, he is like this:
And the one who came up with his dandyed hairstyle for this performance is also a genius.
He played in such films as: "Burnt by the Sun", "Country of the Deaf", "Children of the Arbat", "It is not recommended to offend women", "Inhabited Island", and a bunch of others. At the Vakhtangov Theater he plays in the performances Amphitrion, Cyrano de Bergerac and Lear, at the Stanislavsky Theater he glorified his name with the role of Khlestakov.
Of course, the actor playing Figaro is quite difficult. It is unrealistic to compare with Mironov, moreover, the role of a romantic lover is always not very profitable, it seems to be flat and one-sided. Well, he loves and suffers, there is nothing interesting in this. Mironov brought a touch of depravity to this role, it was clear that his Figaro was not Romeo at all, not the idealistic Don Quixote, but quite his own mind, a battered man who was ready to go over his head if necessary. Therefore, it is probably interesting to look at such a Figaro. There is no such thing in the production of the Vakhtangov troupe.
But we can note the game of the actor who plays the role of Cherubino, Maxim Sevrinovsky. There is something about him... Not just a fluttering young page, but a fluttering young page that can be interesting, hmm-hmm.
Countess Almaviva was surprised. In my favorite production from 1974, she is just a kind little wife (performed by Vera Vasilyeva), all of herself is so correct (although she stirs up with Cherubino), and in Vakhtangov’s version of Almaviva (A.Antonova), it’s as if “on substances”, all so modernized by migraines and insomnia. Funny, in a word.
In short, I am absolutely delighted! So I highly recommend!
This is the second Beaumarchais in a year, but there is so little in common between the performances of Yevgeny Pisarev at the Pushkin Theater (released in May) and Vladimir Mirzoev at the Vakhtangov Theater that it seems that we are facing two different plays. How did Suzanne sing at Beaumarchais's? “Here the voice of reason is mixed with the brilliance of light chatter”? So nothing is mixed up. For the voice of reason, please go to the Pushkin Theater, for light and half-crazy chatter - to the Vakhtangovites.
The difference will be evident, even if you do not look at the stage, but simply compare the statements of the directors. Pisarev, for example, grimacing at the word "crazy", got rid of the first part of the title, leaving only "The Marriage of Figaro" on the poster. It is understandable: his performance is the very moderation and accuracy. Mirzoev, on the contrary, admits: “I would remove the “marriage” and even the intriguing Figaro from the poster, if it did not confuse the viewer.”
I don't know what Mirzoev was afraid of. Confusing the viewer is his trademark directorial quirk, and Crazy Day was no exception to the rule. But the fact that Mirzoev is quietly winding up the wedding of Figaro and Susanna will really become clear not at the first glance at the poster, but only at the end of the performance. The rest of the characters were also unlucky: the mass matrimonial ringing was simply canceled - after all, this would mean the triumph of reason and the end of all follies. And the director wants the madness not to end, so that they rush after us. Therefore, he will limit himself to making Almaviva, who is saddened, pout guiltily in the finale and say: "I won't do it again." Which, of course, no one would believe.
As for the "schemer Figaro", whom Mirzoev was going to remove from the poster, he is, in fact, already crossed out in the play. Firstly, we are not in front of an intriguer, but simply a naive and enthusiastic young man who, due to his headlessness, would completely disappear without the cunning Suzanne (Lada Churovskaya). And secondly, his role is greatly reduced and, as soon as Almaviva-Sukhanov enters the stage, Figaro hopelessly fades away against his background. Leonid Bichevin (in other representations of the count's valet, both Dmitry Solomykin and Pavel Popov can play) does not play the role of a servant, but a service role. In turn, Count Almaviva is not just the master of the house, but also the master of the situation. There is a well-known logic in this: Beaumarchais's Figaro is the embodiment of the folk common sense, and the arbitrariness of Almaviva threatens to make insane not only one day, but the whole world order. If the director does not put a penny on boring rationality and wants to turn his performance into an apology for theatrical madness, then what? Then long live chaos, free love and Count Almaviva.
A worthy successor to Almaviva’s work is Cherubino (Maxim Sevrinovsky; Vasilisa Sukhanova plays this role in a different composition), ready to sleep with all the female representatives not only on stage, but also in the hall (“I love you, parterre! I love you, balcony! - he shouts in a paroxysm of all-conquering lust, while other participants in the performance try to twist him). In a sense, "Crazy Day" staged by Mirzoev is somewhat reminiscent of his old play "Don Juan and Sganarelle" at the Vakhtangov Theater, where the main voluptuous of all times and peoples was played by the same Maxim Sukhanov. The lustful master is again confronted by a prudent servant, but the director's sympathy is again on the side of the first.
One can draw other parallels between Mirzoev's Molière and Mirzoev's Beaumarchais: just like nine years ago, we have before us an eclectic musical show, where a cheerful song is always more important than boring classical replicas. Then they sang the blues, now they prefer exquisite blatnyak or songs based on Beranger's verses, but the essence is the same: the performance turns into a collection of daring gags and pop numbers that completely clog the meaning of what is happening. But why does Mirzoev need sense when he has Sukhanov? Chaos rules, madness triumphs, fun rules the ball. Who would explain why this all-conquering thoughtless and insane fun at some point becomes terribly boring?
Charming comedy by Beaumarchais, the action of which Vladimir Mirzoev transferred to the present.
Crazy day... The style 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, confused, and thanks to the efforts of the hero, happily resolved, and the right of the first night, which previously belonged to the Count, today faces intransigence Figaro, a man of new times, new ethical laws. The conflict is in the contradiction of a modern smart person with customs and practices that have become obsolete.
The design and costumes do not correspond to the time when the comedy was written. The director tries to present this story through the prism of modernity, depicting the mores of society, teaches while entertaining.
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" often appears the magical "or". This variability of theater and culture in general is dear to me. Moreover, the second part of the name 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 remove the "marriage" and even the intriguing "Figaro" from the poster, if it did not confuse the viewer. You used to stand in front of the ocean of classical drama and try to feel something, to catch your wave. But it's not fashion, no, it's not a matter of which way the wind blows. When choosing a material, the main thing for me is the theme. In Crazy Day, I saw an opportunity for a very important conversation. About how a modern person is forced to obey archaic practices, how the elite mentally does not keep up with a society that is rapidly renewing itself. After all, the vector of time is still directed to the future. But the anthropology of Beaumarchais is not didactic - it is a cheerful vitamin hidden among the sweet berries of erotica, disguise, theatrical play. We, like children, swallow a juicy, intelligent text without 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 performance is not modernization in the strict sense of the word. But eclecticism, dynamics and, most importantly. The madness here is quite in the spirit of the actual postmodern. Isn't it true that life itself looks today like a strange collage - mythologies, customs, delusions. Therefore, Mozart and Rossini can easily visit the African leader, sit by the fire, drink a cup of coffee. Sometimes it is difficult to understand what century we are in: whether in the middle 20th , or in 17th , or in 21st .
Cover photo Performance Crazy Day, or the Marriage of Figaro: Crazy Day, or the Marriage of Figaro, source: vakhtangov.ru.
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16+
Stage director - Vladimir Mirzoev
Set designer - Anastasia Bugaeva
Costume designer - Alla Kozhenkova
Lighting Designer - Maya Shavdatuashvili
Composer - Faustas Latenas
Musical director - Tatyana Agayeva
Choreographer - Arthur Oshchepkov
Make-up artist - Olga Kalyavina
Sound engineers - Anatoly Ibragimov, Ruslan Knushevitsky
Assistant director - Marina Marchenko
Actors and performers:
Count Almaviva - Maxim Sukhanov
Countess, his wife - Marina Esipenko, Anna Antonova
Figaro - count's valet - Leonid Bichevin, Pavel Popov
Susanna - the countess's chambermaid - Polina Kuzminskaya, Lada Churovskaya
Marceline - Marina Esipenko, Vera Novikova
Cherubino, the count's page - Maxim Sevrinovsky
Basil, music teacher - Eldar Tramov
Bartolo, doctor - Ruben Simonov, Oleg Lopukhov
Don Guzman Briduazon, judge - Alexander Pavlov
Doubleman, court clerk - Eldar Tramov
Antonio, gardener - Alexander Galevsky
Fanshetta, his daughter - Asya Domskaya, Polina Chernyshova
Artists of the theater orchestra take part in the performance:
Mikhail Ainetdinov, Valeria Dmitrieva, Polina Evlanova, Olga Zhevlakova, Vladimir Sveshnikov, Evgeny Poltorakov, Nikolai Myzikov
The performance features the music of W. Mozart, G. Rossini, L. Boccherini, I. Bach
“If gloomy thoughts come to your mind, 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 the advice of the great poet. The charm of Beaumarchais's comedy has not faded, its energy, excitement, irony, humor, virtuosity of intrigue over the years seem to have gained even greater sharpness and brilliance. And although Figaro is interesting for us today not as a harbinger of revolution, which outraged the ruling class in Paris at the time of the premiere of the play, the folk hero attracts with his independence, resourcefulness, restless spirit of the truth seeker.
Crazy day... The style 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, confused, and thanks to the efforts of the hero, happily resolved, and the right of the first night, which previously belonged to the Count, today faces intransigence Figaro, a man of new times, new ethical laws. The conflict is in the contradiction of a modern smart person with customs and practices that have become obsolete.
The design and costumes do not correspond to the time when the comedy was written. The director tries to present this story through the prism of modernity, depicting the mores of society, teaches while entertaining.
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" often appears the magical "or". This variability of theater and culture in general is dear to me. Moreover, the second part of the name 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 remove the "marriage" and even the intriguing "Figaro" from the poster, if it did not confuse the viewer.
You used to stand in front of the ocean of classical drama and try to feel something, to catch your wave. But it's not fashion, no, it's not a matter of which way the wind blows. When choosing a material, the main thing for me is the theme. In Crazy Day, I saw an opportunity for a very important conversation. About how a modern person is forced to obey archaic practices, how the elite mentally does not keep up with a society that is rapidly renewing itself. After all, the vector of time is still directed to the future. But the anthropology of Beaumarchais is not didactic - it is a cheerful vitamin hidden among the sweet berries of erotica, disguise, theatrical play. We, like children, swallow a juicy, intelligent text without 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 performance is not modernization in the strict sense of the word. But eclecticism, dynamics and, most importantly. The madness here is quite in the spirit of the actual postmodern. Isn't it true that life itself looks like a strange collage today - mythologies, customs, delusions. Therefore, Mozart and Rossini can easily visit the African leader, sit by the fire, drink a cup of coffee. Sometimes it is difficult to understand what 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? - that's life". And sometimes the phrase sounded differently: “What do you want? - This is a theatre".
The performance is 3 hours long with one intermission.