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АССАМБЛЕЯ (комедия П.Гнедича) |
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Постановка и сценография Андрея Сергеева В роли вдовы Наталии Борисовны Пехтеревой – народная артистка СССР Вера ВАСИЛЬЕВА – заслуженная артистка России Любовь НОВАК Художник по костюмам—Н.Закурдаева Художник по гриму и парикам—Л.Мейерхольд Художник по свету—В.Васильев Балетмейстер—А.Богуславская
Действие происходит в городке Санктпитербурхе В музыкальном оформлении спектакля использованы фрагменты из ранних произведений Жака Оффенбаха |
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театральный режиссёр и сценограф Андрей Сергеев |
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...В центре «ассамблейного дела» вовсе не Петр I, хотя и вершится здесь все по его велению. В центре - боярыня Пехтерева, не без сопротивления согласившаяся помогать царю в проведении ассамблеи. Вера Кузьминична Васильева-Пехтерева - просто превосходна. Она так красива, она так божественно двигается, так музыкальна и так мастерски ведет диалог. И нет у нее той театральной суровости, жесткости, властных ноток, хмурых взглядов - словом, вульгарного обличительства. Но есть абсолютная власть. Власть доброй, умной, красивой женщины, и даже над государем, которому она явно нравится и с которым появляется на ассамблее.
«АССАМБЛЕЙНОЕ ДЕЛО», М. Строев "Вечерняя Москва", 12 февраля 1996 |
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The Novy Drama Theater's production of "The Ball," Pyotr Gnedich's play about social maneuvering complicated by love and embezzlement in the court of Peter the Great, is just such a show. Beautiful, buoyant and funny, it has the clarity and color of a masterful folk painting. Sergeyev made his professional bow as an artist at the Maly Theater in 1987, designing Lvov-Anokhin's popular production of Gnedich's "Lackeys." Since then the two have been almost inseparable, and it is no coincidence that Sergyeyev has made his directing debut with another play by Gnedich. "The Ball" was originally staged in 1912 but essentially disappeared after that; not the kind of track record that promises success for a first-time director. But with strong support from everyone involved, success was the result. The unquestioned star of the ball is the delightful, charming and astonishing Vera Vasilyeva as Natalya Borisovna, an old-school widow who balks at Peter the Great's western innovations, refusing to attend a state ball with "drunken Germans," and relies on her youthful spunk to save her son's love affair from falling an innocent victim to politics. Vasilyeva is grace and talent incarnate, a study in detail, concentration and truth, effortlessly illuminating every glance and gesture of her endearingly blustery heroine. This is that rare performer who defies description or criticism, and must be seen to be believed. As rarely happens with a cast of 40, Vasilyeva's entrancing, nuanced performance is surrounded everywhere by top-notch work. The first entrance of her youthful, love-struck son Pyotr Andreyevich (Denis Bespaly), frizzed up in an orange costume and beehive wig to impress the pretty Frosya (Marina Yakovleva), is a spectacle in itself, and highlights Sergeyev's shrewd delineation of caricatured types. Sergeyev's own modern, minimalist set, aided by Viktor Vasilyev's strong side and top lighting, showcase Natalia Zakurdayeva's colorful and comical period costumes and the extraordinarily expressive makeup by Lyudmila Meyerhold. This "Ball" is one not to be missed.
"The Ball': Beauty in a Single Breath, By John Freedman The Moscow Times, Friday, January 19, 1996 |
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Отзывы о спектакле... |
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Московский новый драматический театр (премьера - 28 декабря 1995г.) |