Three sisters. Maly Theater. Press about the performance. Three Sisters A stunning Russian production of Chekhov's classic play
Marina Davydova
Freeze. Die. Move on with your life
Yuri Solomin staged "Three Sisters" at the Maly Theater
Artists often go into directing and very rarely achieve anything in it. Yuri Solomin unexpectedly achieved. “Three Sisters”, released by him in Maly, was made and played with that kind of simplicity that seasoned critics no longer dared to dream of.
It just so happened that for some time now there have been two strongholds of tradition in Moscow - the Moscow Art Theater and the Maly. And they have recently been led by two outstanding artists - Tabakov and Solomin. The first discovered the makings of an outstanding manager and, in accordance with the spirit of the times, turned the theater entrusted to him into a platform open to all directions and winds. The second, on the contrary, resisted the spirit of the times in every possible way, shunned fashion trends and was known in theatrical circles as an incorrigible conservative. "Three Sisters" is the fruit of this very conservatism. An unexpected, frankly speaking, fruit.
Tradition is generally a vague word. In relation to the theater, and even more so to the Russian theater, it is subject to definition with particular difficulty. After all, Maly and the Moscow Art Theater embody different traditions. And “Three Sisters” is not from Maly’s repertoire. This is just from a completely different repertoire. To be historically and theatrically accurate, to play Chekhov in Maly in accordance with tradition means to play in a sweeping, playful manner, with some slant towards comedy, most likely Ostrovsky’s comedy. Sergei Zhenovach is the true heir to these traditions. Meanwhile, “Three Sisters” was played at the Maly in the Moscow Art Theater style, without looking at any specific production, but in obvious accordance with the hypothetical Moscow Art Theater performance, as it, in the words of one of Chekhov’s heroes, “is imagined in dreams.” The fact that Maly, and even with the help of his artistic director, undertook to solve such a problem deserves interest and respect. The fact that this task was ultimately up to him deserves close analysis.
No one has ever considered Solomin a real director. I don’t think he counted himself among them.
He clearly didn’t have any strikingly deep and innovative thoughts about Chekhov’s play. He did not intend to speak any new words in art. In general, he turned out to be not a director in this case, but rather a medium, a conductor of that theatrical idea, according to which one must trust the author as much as possible, honestly try to penetrate into the essence of each character and not deform the play with the concept. These instructions now seem as simple as a pancake recipe. But in my memory, the overwhelming majority of these pancakes came out lumpy. Let’s say, some relative who is inexperienced in theatrical matters calls you and says: “I would like to see Chekhov, but without avant-gardeism and any bad excesses. In a classical performance.”
You literally don’t know what to advise a person, because “ classical performances“They seem to be found, but they smack of such falsehood, such a hopeless theatrical routine, that it is ashamed to recommend them to anyone. When the hackneyed banality with scarves fluttering in the stage wind and a tear played out picturesquely on the proscenium is passed off as loyalty to the tradition of Russian psychological theater, you want to run away from this tradition and its talkative adherents, like Maupassant from the Eiffel Tower. Indeed, in fact, such adherents are destroying it much more successfully than all the radicals and subverters combined. Thus, a stupid guardian can cause more serious harm to the Christian faith than the most ardent atheist.
The Maly troupe - you are convinced of this once again - is one of the strongest and, most importantly, well-coordinated troupes in Moscow. Its artists rarely appear in TV series and television gatherings over a cup of tea, but they do their job well. Of course, Eduard Martsevich in the role of Chebutykin, who has long, unlike everyone else, not harbored any illusions or hopes, shows a much higher class of acting than, say, Alexander Ermakov (Vershinin) or charming, but not very different this charm comes from Fedotik or Rode Gleb Podgorodinsky (Tusenbach), but none of them can be blamed for narcissism, shamelessly dragging the blanket over themselves.
Sitting in the Maly, you surrender to the measured flow of the play and performance and discover unexpected and precise passages in its quiet cantilena. Here Andrei Prozorov (excellent work by Alexander Klyukvin) pronounces in the last act his next monologue on the topic “life is lost,” addressing him to Sofochka lying in a stroller. And this absurd reasoning suddenly reveals Chekhov’s tragedy stronger than any strain. Or at the end there is no loud music, which seems to be supposed to accompany Olga’s monologue according to the stage directions, but the sound of steadily falling drops is simply heard. And this, I must say, is one of the best “mood” scenes I have ever seen.
Comparing Maly’s performance with other “classical” productions, you suddenly begin to clearly understand how the correct answer to a complex question differs from a banal one.
Banal - it is always borrowed. To do it right requires the work of your own brain and your own soul. There are theorems that will never turn into axioms. They must be proven anew every time. In Maly’s performance, the work of the soul and mind is visible, and it can replace everything that is usually valued in modern theater - stylish decoration, unexpected interpretation, and bold staging moves. Somewhere there is a tradition that was once inextricably linked with Art Theater
, but which had long been in the public domain, died and turned into a dried-up mummy.
Somewhere she froze in anticipation of new achievements. Somewhere, like in Maly, he continues to live modestly but with dignity. God bless her.
Rossiyskaya Gazeta, February 4, 2004
Alena Karas
CHEKHOV's zeal, timed to coincide with the anniversary of his death, has reached its apogee. After the terrible, full of confusion and disharmony “The Cherry Orchard” by Eimuntas Nyakrosius, Joseph Raikhelgauz spoke out, releasing the cheerful, trifling operetta “The Seagull” to spite everyone. The next two premieres are " The Cherry Orchard"at RAMT and "Three Sisters" at the Maly Theater - turned out to be much more thorough.
The Maly Theater rarely takes on Chekhov. Centuries have flown by, but the nature and spirit of this theater is still alien to anything remotely “Chekhovian.”
If at the end of the century before last “Chaika” had not failed in Alexandrinka, it would definitely have failed in Maly. A clear, strong gait, an open and powerful temperament, respect for the word, turning into pathetic declamation - this is the acting style of the Maly Theater, which over time, if it became smaller, never changed its nature. An enthusiastic admirer of the Maly Theater, Vasily Rozanov, educated by its great masters, forever retained the belief that “the theater cannot convey anything intimate, hidden, internal.... In general, strength and brevity, as if the emphasis of everything, is the fundamental law of the theater.” ., As if overhearing these old thoughts Russian philosopher
In fact, the actors themselves line up on stage like a folk choir, remembering that they should be seen and heard from everywhere. And if the sisters and all the inhabitants of the house are listening to Vershinin (Alexander Ermakov) who has run in for a minute, then they do it thoroughly, turning straight to the viewer. It’s immediately obvious that they are the general’s daughters.
Solomin and the artist Alexander Glazunov, following the Chekhov productions of Efremov and Leventhal, build in detail the Prozorovs' house on stage with rooms and passages, with a landscape and a birch grove.
But here, with the birch grove, the most interesting things begin.
Solomin tries to hear the tragedy from the first, cheerful chords of Irina’s name day. The grove - the place where Solyony kills Tuzenbach - is constantly present in the figurative structure of the play, like a silent prophet and witness of future misfortunes. And the name days themselves - with a detailed feast, a samovar and a pie - are also read by Solomin as a harbinger. Unfortunately, the actors in the first act act as if all the most fatal endings of the play have already happened.
The holiday begins with a wake.
It is significant that Tuzenbach (Gleb Podgorodinsky) loves Irina.
It is significant that she does not hear this love, but is ready to come to terms with it. It is significant that Olga (Alena Okhlupina) suddenly accepts Kulygin as a person whom she - unlike Masha - could love. It is significant that he, too, would be ready to love Olga, if not for the severity of moral prohibitions. It is significant that he endures Masha’s suffering at the end of the play and is ready to endure it further. It is significant that in the finale the music of the regimental orchestra does not sound joyful and soothing at all, and Olga’s words are drowned in desperate and hopeless silence. And it turns out that the Maly Theater, sometimes naively and pompously, still managed to play “Three Sisters” as the most desperate and hopeless Chekhov play about unfulfilled love.
Russian Courier, February 5, 2004
Alisa Nikolskaya
The Maly Theater got lost in three sisters
Performances staged “by the way” are not uncommon in Moscow today. Perhaps most of them would not be worth paying attention to at all.
However, there are cases when a performance, staged only to ensure that a certain play appears on the poster, touches a nerve either with an unexpectedly interesting result or with its complete inadequacy. Everything was clear with “Three Sisters” at the Maly Theater even before the curtain went up. A leisurely “waltz in a city garden”, birch trees in the backdrop, lacy chiaroscuro... You can look at the polished furniture for a long time, study the palm trees in tubs and wonder what the cake on the birthday table is made of. However, at some point you begin to pay attention to the action. And you immediately discover many inconsistencies and oddities. relationships. The heroes hate each other with terrible force, to the point of foaming at the mouth and gnashing of teeth. And the sisters and Natasha are simply competing to see who can be mean to whom. Confused busybody Olga (Alena Okhlupina) screams in a bad voice, shouting the word “darling” as if it were an obscene curse. The simple-minded Vershinin (Alexander Ermakov) talks about love so casually that it seems he is no stranger to such words. Arrogant Masha (Olga Pashkova) pouts her lips in disgust and turns up her nose. She has nothing to repent of before her sisters, and after the military leaves, she convulses, as if
Small child
Less significant, but “scratching” moments are also striking. For example, why is there a portrait of Alexander III hanging on the wall in the Prozorovs’ house, but not a single icon? And when the heroes stand up to remember their dead father, no one crosses themselves? For the first time receiving Vershinin as a guest, the hosts huddle for a long time in the hall on one spot, although the most natural (both actorly and humanly) would be to go into the rooms. And where, it’s interesting to know, is the famous school of manners of the Maly Theater? Everyone’s backs are bent, their gait is uncertain, older people jump around like boys, and not a single gentleman knows how to properly kiss a lady’s hand - they grab it at random. And here's another strange thing. The Maly Theater has always been famous for its colorful artists. So why is there not a single person in “Three Sisters” that evokes banal audience sympathy?..
How often do Maly representatives speak in interviews about preserving the “traditions of the Russian theater.”
But, judging by most recent performances ("Three Sisters" is no exception), the very concept of tradition has become fairly blurred. “What loses its shape ends,” says Kulygin in the first act. I don’t want this to sound like a prophecy for the Maly Theatre.
Culture, February 12, 2004
Irina Alpatova
Defector Quartet
Chekhov's cycle completed at the Maly Theater The height of winter gave the public a surge of interest in Chekhov's drama. Almost simultaneously, “The Cherry Orchard” appeared at RAMT and the operetta “The Seagull” at the School modern play
, two versions of “Three Sisters” - in the Maly and Armen Dzhigarkhanyan Theaters. It's like the changing seasons. Autumn was marked by the “new drama”, some representatives of which consider Chekhov obsolete. Winter, according to the natural balance, presented the audience with four Chekhov performances. During Chekhov’s lifetime, the Maly Theater’s relationship with its dramaturgy somehow did not work out. All its subtexts, “undercurrents” and other nuances of the century-old “new drama” were at odds with the acting traditions of the imperial stage, although it, too, longed for reform. IN
Soviet times Chekhov was staged in Maly infrequently and without obvious discoveries. But in recent years there has been a whole rash of Chekhov productions, and Maly has surpassed even the Moscow Art Theater, which bears the name of the playwright, having in its repertoire as many as four titles: “The Cherry Orchard,” “Uncle Vanya,” “The Seagull” and “Three Sisters.” nowadays they propose to impose a moratorium on the production of Chekhov's plays. Despite all the absurdity of the positions, it is still possible to understand them, at least in the fact that Chekhov’s super-popularity partly hinders the promotion of the “new drama” of the current model and the next “new forms”. True, in fairness it is worth noting that this drama is not even capable of minimal competition. As for the “new forms,” the heroes of Chekhov’s works today sing and dance, and often behave like reckless avant-garde artists. And by the way, the coolest of the current wave of young directors in their upcoming premiere productions promise us a meeting not with their contemporaries, but with the same “cool” classics.
But today is not about them. At the Maly Theater, its artistic director Yuri Solomin presented to the public his version of the production of the famous “Three Sisters,” which to this day had never been staged on the oldest Moscow stage. And here let me fall into banality for a moment. Still, the most textbook classical work is now staged not for its own sake (if a play has crossed the century mark, it has automatically proven its genius), but for the sake of its connection with the pain points of today's reality.
Meanwhile, the “three sisters” syndrome still exists, and even in the far from ideal modern Moscow, which the Prozorov young ladies so aspired to and did not end up in. In a very aggravated state, provoked by not so distant social cataclysms. The little one preferred “the beautiful is far away.” Yuri Solomin did not take the risk or simply did not want to create any concepts, preferring a traditionally actor's interpretation of the play, unfolded on the stage in the same traditionally beautiful scenography. The artist Alexander Glazunov built a very remarkable set in itself, although it wanders from one Chekhov performance to another. Panorama of the estate park, trees, pond, in the center - a rotating pavilion representing the interiors of the Prozorovs' house. The viewer, as usual, greets all this beauty with applause.
And then - according to the text.
In Solomin's "Three Sisters" the famous acting ensemble paradoxically appears and disappears, breaking up into separate solo parts that are not always in harmony. The older generation of Maly actors is still at their best, represented here by Galina Demina (Anfisa), Valery Babyatinsky (Kulygin) and Eduard Martsevich (Chebutykin).
The latter is especially good because it has its own personal “history”, which pulls, without breaking the thread, from the past to the future, which, however, is very uncertain. Here he, usually always drunk, took root, almost the “keeper of the house”, its foundations, lively, temperamental, spontaneous, able to both hide his feelings and nervously, sarcastically, throw out emotions. And Kulygin-Babyatinsky, well aware of the duality of his position, demonstrates the same duality of existence: a narrow-minded and fussy “cracker”, every now and then dropping well-worn phrases, and a man hopelessly in love with his own wife, capable of understanding and forgiveness.
You really look at all these familiar twists and turns through the eyes of an outside observer, sometimes laughing, sometimes remaining completely indifferent.
The only things that are touching are the aforementioned “old men” and the episode of Tuzenbach’s farewell to Irina. And then exclusively from the position of the baron - Podgorodinsky, because you understand that it is better to part with life touchingly than to spend the rest of it in a brick factory with such an exalted, and not yet loving, person as Irina.
True, based on the current theatrical situation, one can’t help but want to rejoice at the fact that in the Maly Theater’s performance, Chekhov’s characters are at least mentally normal, demonstrate a natural orientation and express themselves in censored ways.
Vedomosti, February 18, 2004
Victoria Nikiforova
The worst is the enemy of the good
"Three Sisters" directed by Yuri Solomin appeared at the Maly Theater
Difficult people live in the Prozorovs' house. In the first act, Irina (Varvara Andreeva) laughs as if she had taken a massive dose of cocaine on her name day, and then she sobs throughout the entire performance, as if she were going through withdrawal. Masha (Olga Pashkova) says nasty things to everyone. Olga (Alena Okhlupina) whines like a blizzard outside the window. There is only one good person here, and that one is Kulygin. The same bad anecdote happened to Chekhov's play that happens to all classical plays in modern production. All goodies
turn out to be unbearable bores, all theatrical villains turn out to be handsome.
It seems that Yuri Solomin was thinking about something similar when he took on “Sisters”. In any case, he allowed Gleb Podgorodinsky to make a disgusting little man out of Tuzenbach, not even a little man, but some kind of Kafkaesque “insect creature.” Podgorodinsky played Tuzenbach for the first time in such a way that it became clear why Irina could not decide to accept his offer for five whole years. “One baron more, one baron less” is a completely worthy epitaph for this nonentity.
In his newspaper, Solomin, not without pleasure, quoted Chekhov’s entry, so reminiscent of Lenin’s verdict on the intelligentsia: “I do not believe in our intelligentsia, hypocritical, false, hysterical, ill-mannered, lazy.”
He was probably inclined to treat Chekhov's heroes with irony. However, here it was necessary to go to the end and stage “Sisters” the way they deserved it: as a black comedy about provincial hysterics and stupid military men, whom the author openly mocks. Unfortunately, Solomin was afraid of this. Or maybe he decided that academic theater
such experiments with a classic are impermissible. As a result, almost all of his actors don't believe a word they say. With well-trained voices, they deliver classic lines and romanticize their characters. But, despite all their efforts, the hydrochloric acid of Chekhov’s irony corrodes rhetorical constructions about “the happiness of labor” and “life in two or three hundred years.” When the handsome, hefty military man Vershinin (Alexander Ermakov) angrily says: “My wife has been poisoned again. Such a nuisance,” the audience giggles: Chekhov’s farce breaks through, no matter how hard the actors try to refine it.
Chekhov's intellectuals look like pure aliens today. No amount of effort at transformation allows the actors to identify with these lazy, hysterical, irrational creatures. And when Chebutykin (Eduard Martsevich) slurring his tongue tells the parterre: “Perhaps I’m not a person, but I’m only pretending that I have arms and legs,” the parterre is inclined to believe him.
And only the clever, kind, law-abiding, vain, gymnasium teacher Kulygin, dressed in a sparkling uniform, seems to be the only living person among these strange creatures called “intelligentsia”.
Drama in 4 acts
The performance has one intermission
The duration of the performance is 3 hours 20 minutes.
Compound:Stage director - People's Artist of the USSR
Production designer - Honored Worker of Culture of RussiaAlexander Glazunov
Musical arrangement - People's Artist of RussiaGrigory Gobernik
Director - Vasily Fedorov
Lighting designer - Honored Artist of RussiaDamir Ismagilov
Assistant directors - Honored Cultural Workers of RussiaVladimir Egorov And Ghana Markina
Prompters - a condemned cultural worker of RussiaLarisa Merkulova, Honored Artist of RussiaLarisa Andreeva
Cast:
Prozorov Andrey Sergeevich People's Artist of Russia - A.V. KLYUKVIN, A.Yu.BELY
Natalya Ivanovna, his fiancee, then his wife - Honored Artist of Russia I.V. IVANOVA, I.A. ZHERYAKOVA
Olga - People's Artist of Russia A.I. OKHLUPINA
Masha - People's Artist of Russia, Laureate State Prize Russia O.L. PASHKOVA
Irina - V.V. ANDREEVA
Kulygin Fedor Ilyich, gymnasium teacher, Masha’s husband - People’s Artist of Russia V.K. BABYATINSKY
Vershinin Alexander Ignatievich, lieutenant colonel, battery commander - People's Artist of Russia A.Yu. ERMAKOV
Tuzenbakh Nikolai Lvovich, baron, lieutenant - Honored Artist of Russia, laureate of the State Prize of Russia G.V. PODGORODINSKY
Soleny Vasily Vasilievich, staff captain - Honored Artist of Russia V.A. Nizovoy, A.E. FADDEYEV
Chebutykin Ivan Romanovich, military doctor - Honored Artist of Russia Vl.B. NOSIK, Honored Artist of Russia V.V. BUNAKOV
Fedotik Alexey Petrovich, second lieutenant - S.A. KORSHUNOV, D.A. MARIN
Rode Vladimir Karpovich, second lieutenant - A.E. FADDEEV, D.A. MARIN
Ferapont, watchman from the zemstvo council, old man - People's Artist of Russia A.S. KUDINOVICH
Anfisa, nanny, old woman 80 years old - N.P. Shvets
Maid in the Prozorovs' house - D.N. PODGORNAYA
Batman - A.T. MANKE
Contents of the play “Three Sisters” at the Maly Theater in Moscow
His play “Three Sisters” by A.P. Chekhov wrote in 1900, and for more than a century the play of the same name has not left the stage, continuing to delight audiences with the story of three sisters, the story of dreams and unfulfilled hopes.
The scene is a provincial provincial town in which the Prozorov sisters live - Olga, Masha and Irina. Their life is monotonous, monotonous and boring. And when a military garrison is located in the town, the sisters have hope for change.
The middle sister Masha falls in love with officer Vershinin, the youngest Irina falls in love with Baron Tuzenbach. But the happiness that the sisters were waiting for turned out to be capricious: Masha’s dreams will not come true, and Irina will lose her beloved forever. And then the regiment will leave the city, and life will go on as before, and the phrase “To Moscow, to Moscow!” will become a symbol of unfulfilled desires.
How to buy tickets for the play “Three Sisters” at the Maly Theater
Buying tickets to the Maly Theater is easy if you think about purchasing in advance. The fact is that the Maly Theater’s play “Three Sisters” is sold out, despite the fact that it has been running for several years.
And if you decide to go to Maly specifically for this production, then you can leave a request right now by filling out the booking form on our website.
Review of the Maly Theater performance “Three Sisters”
Vera Maksimova (“Native Newspaper”):
“Those who would like to find Mkhatovsky’s Chekhov in the new Maly Theater production of “Three Sisters” will be disappointed. Maly has its own Chekhov. Brighter, more simple-minded, more diverse. Without much concern for maintaining Chekhov's tone (muted), style (noble and refined), rhythm (slow). In Maly they play life, without hiding how painfully and cruelly it hits. Tragedies and dramas are repeated, desires are not fulfilled, but hope does not die. Each act in a large, long performance ends not in ruin, but in the rebirth of hope.”
Natalya Kazmina (“Theater Life”):
“It would seem that the traditions of the Maly Theater and the dramaturgy of Chekhov are two completely different views, two completely different points of view on the world around and inside the individual, but it so happened that in different eras During its existence, the theater felt an unimaginable need for precisely this author, with the help of whom he spoke about what hurts, what does not give peace and harmony. And remarkable, albeit completely unexpected, coincidences of “blood type” occurred, allowing us to discern something hitherto unknown in Chekhov’s dramaturgy, and in the fate of the Maly Theater, and in our spectator’s sense of the world and ourselves...
The play “Three Sisters”, staged by Yuri Solomin (designer A. Glazunov, music by G. Gobernik), can be called, without exaggeration, one of those magical coincidences, when with others, as if with washed eyes, you see artists you have known for a long time, in your soul you feel shades that were almost missed before by heart of a familiar text, you build for yourself a different system of concepts.”
Premiere: 01/16/2004
Director: Yuri Solomin, artist: Alexander Glazunov,musical arrangement: Grigory Gobernik
Actors: A. Klyukvin, I. Ivanova, I. Zheryakova, A. Okhlupina, O. Pashkova, V. Andreeva, V. Babyatinsky, A. Ermakov, G. Podgorodinsky, V. Nizovoy, A. Faddeev, E. Martsevich, V. Nosik, S. Korshunov, A. Faddeev, D. Marin, A. Kudinovich, L. Anikeeva, D. Podgornaya, A. Manke
Photos and information about the performance
from the theater's official website: www.maly.ru
"Those who would like to find Mkhatovsky's Chekhov in the new performance of the Maly Theater "Three Sisters" will be disappointed. The Maly has its own Chekhov. Brighter, more simple-minded, more varied. Without special care for observing Chekhov's tone (muted), style (noble and refined ), rhythm (slow). Without that integrity that was a miracle and mystery in the old Moscow Art Theater." Vera Maksimova, Rodnaya Gazeta, 02/27/2004
"Yuri Solomin finds very precise, dotted marks that are deciphered in a multi-valued and interesting way. So the festive feast began: Masha (O. Pashkova) stood up with a glass and silently called on everyone to follow her - the first toast in memory of her father. Everyone understood, except Natasha (I . Ivanova), and Chebutykin (E. Martsevich) quietly whispered something in her ear. This scene lasts for a few seconds, but how important, how symbolic it is! The year of mourning has ended, hopes and dreams of happiness have come to life, but here it is, this. beginning, - the memory of death will never leave the sisters, no matter where they are. And Masha, perhaps the only one, understands this soberly and cruelly.” Natalya Kazmina, Theater life, 06/28/2004
“Sometimes you marvel at how long-familiar meanings are revealed anew, how you suddenly hear something you missed, something you never paid attention to before... “Three Sisters.” Irina in a white dress, Olga in a gray one, similar to her teacher’s uniform, Masha in black. We have been accustomed to this combination for so long, as if we ourselves dressed the Prozorov sisters in these clothes, without thinking about why they were dressed that way.” Natalya Staroselskaya, Theater life, No. 3 2004
“The director of the play, Yuri Solomin, does not express himself through the play, does not impose his own concepts on it, but stages it as Doctor Chekhov prescribed - simply and clearly. And from such a naive, at first glance, approach, the tired, overplayed and overplayed play seems to be freed from burden of interpretations layered over a century and looks fresh and washed, as on a first date, and Chekhov’s words “it’s good where we are not,” sounding in the theater located in the very center of Moscow, where the unfortunate sisters were so eager, give the production a note of sad sincerity.” . Marina Shimadina,Personal time, 08/26/2004
“Chekhov’s intellectuals look like pure aliens today. No efforts at transformation allow the actors to identify with these lazy, hysterical, irrational creatures. And when Chebutykin (Eduard Martsevich) slurred his tongue and tells the parterre: “Maybe I’m not a person, but I’m just pretending “that I have arms and legs,” the stallholder is inclined to believe him. And only the clever, kind, law-abiding, vain, gymnasium teacher Kulygin, dressed in a sparkling uniform, seems to be the only living person among these strange creatures called “intelligentsia.” Victoria Nikiforova, Vedomosti, 02/18/2004
“At the Maly Theater, its artistic director Yuri Solomin presented to the public his version of the production of the famous “Three Sisters,” which to this day have never been staged on the oldest Moscow stage. And here let me fall into banality for a moment. Still, the most textbook classic now it is staged not for its own sake (if a play has crossed the century mark, it has automatically proven its genius), but for the sake of its connection with the painful points of today's reality. Yuri Solomin pointedly distanced “Three Sisters” from our time. As the eternal from the vain, the present from surrogates." Irina Alpatova,Culture, 12-18.02.2004
“You leave Maly’s performance in a good mood and with joy in your heart. It turns out that you can do it like this - without discoveries and breakthroughs, but also without hitting the wrong notes. Without vulgarity and crap. These “Three Sisters” don’t look like an anachronism for a single minute, although the whole gentlemanly set of the Chekhov production seems to be in place - detailed interiors, a backdrop with a birch grove, period-appropriate costumes. Here the sisters (Alena Okhlupina, Olga Pashkova, Varvara Andreeva) will suffer, Natasha (Inna Ivanova) will turn from a timid bourgeois into a hysterical housekeeper. , Kulygin (Valery Babyatinsky) will be sublimely defenseless in his love for Masha, Solyony (Viktor Nizovoy) will be ridiculous in his romantic claims. But I believe each of them.” Marina Davydova, Izvestia, 02/03/2004
(MAIN SCENE: Teatralny Proezd, 1 (Teatralnaya metro station) and ORDYNKA SCENE: Bolshaya Ordynka St., 69 (Dobryninskaya metro station))
Drama in 4 acts (3 hours)
A.P. Chekhov
1200 - 4000 rub.
Performance THREE SISTERS
Ticket prices:
Balcony: 1200-2000 rub.
Mezzanine: 1500-2500 rub.
Amphitheater, boxes: 1800-3000 rub.
Parterre: 2300-4000 rub.
The cost of one ticket includes reservation and delivery services.
For exact prices and availability of tickets, please call the website. Tickets are available.
Review of "Theater Afisha"
“This is a furious author” - this is how Armen Dzhigarkhanyan understands Chekhov. He found an early, uncorrected version of the play for this production - and he was not mistaken with his choice. But even the author’s usual remarks are unrecognizable here. They hurt the ear, get stuck in the brain, they excite, anger, amaze.
The author of “Three Sisters” is a doctor, and he makes an unmistakable diagnosis for his characters. And there is no in the textbook “to Moscow, to Moscow!” There is no hope for any of them, there is no future. Only migratory birds are still flying somewhere above the Prozorovs’ house, and will fly “until God reveals the secret to them.”
The Prozorov sisters (Olga, Masha and Irina) are grieving in one of the provincial towns of the Russian province, where a military garrison is temporarily located. Against the backdrop of this immense provincial boredom, the relationship between the middle of the sisters, Masha and officer Vershinin, and the youngest, Irina and Baron Tuzenbach, unfold. Masha will never find her happiness, Irina will forever lose her loved one. The regiment will leave the city. The sounds of the military band fade away. Long, long days will drag on... “To Moscow, to Moscow!” - will remain an eternal symbol of the unfulfilled hopes of all the heroes of this drama by A.P. Chekhov.
Production director - Production designer - Alexander Glazunov
Musical arrangement - Grigory Gobernik
Director - Vasily Fedorov
Premiere: January 16, 2004.
Duration of the performance is 3 hours.
Prozorov Andrey Sergeevich People's Artist of Russia
Natalya Ivanovna, his fiancee, then his wife
Honored Artist of Russia
I.A.ZHERYAKOVA
Olga
People's Artist of Russia
A.I. OKHLUPINA
Masha
People's Artist of Russia
Laureate of the State Prize of Russia
O.L. PASHKOVA
Irina
V.V. ANDREEVA
Kulygin Fedor Ilyich, gymnasium teacher, Masha’s husband
People's Artist of Russia
VC. BABYATINSKY
Vershinin Alexander Ignatievich, lieutenant colonel, battery commander
People's Artist of Russia
A.Yu. ERMAKOV
Tuzenbakh Nikolai Lvovich, baron, lieutenant
Honored Artist of Russia,
laureate of the State Prize of Russia
G.V. PODGORODINSKY
Soleny Vasily Vasilievich, staff captain
Honored Artist of Russia
V.A. GROSS
A.E. FADDEYEV
Chebutykin Ivan Romanovich, military doctor
People's Artist of Russia
E.E. MARTSEVICH
Honored Artist of Russia
V.B. SPOUT
Fedotik Alexey Petrovich, second lieutenant
S.A. KORSHUNOV
Rode Vladimir Karpovich, second lieutenant
A.E. FADDEYEV
YES. MARIN
Ferapont, watchman from the zemstvo council, old man
People's Artist of Russia
A.S. KUDINOVICH
Anfisa, nanny, old woman 80 years old
L.S. ANIKEEVA
Maid in the Prozorovs' house
L.S. ANIKEEVA
D.N. PODGORNAYA
Soldier
A.T.MANKE
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