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БЛАЖЬ (комедия А.Островского и П.Невежина) |
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...Под чарующие звуки вальсов Верди и Оффенбаха, в потемневшем от времени штофном пурпуре гостиной закружилась в порочном вихре последней любви вдова – помещица Серафима Давыдовна Сарытова. Комедия или мелодрама? Трагедия или фарс? Любовь или блажь? |
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театральный режиссёр и сценограф Андрей Сергеев |
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Отзывы о спектакле... |
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Московский новый драматический театр (премьера - 17 мая 1997г.) |
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Постановка и сценография Андрея Сергеева В роли помещицы Серафимы Давыдовны Сарытовой народная артистка СССР Вера ВАСИЛЬЕВА Художник по костюмам—Н.Закурдаева Художник по гриму и парикам—Л.Мейерхольд Художник по свету—В.Васильев Концертмейстер—Т.Данилова |
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Всегда элегантная, обаятельная актриса, поражающая зрителя своей непосредственностью в восприятии такого неоднозначного образа, каким является Сарытова, Вера ВАСИЛЬЕВА завоевывает симпатии зрителя с первых минут своего появления на сцене. «Женщина, молодящаяся не по годам» - этот эпитет, которым награждает свою героиню Островский, ни в коей мере не подходит к актрисе. Искренняя и знакомая улыбка актрисы, изящество, с которым она флиртует с юным героем, прекрасно выстроенные музыкальные номера—актриса превосходно исполняет арии Виолетты и Елены—все это составные части спектакля, в котором Вера ВАСИЛЬЕВА объединяет артистов в ансамбль, где каждому отведена особая, наполненная индивидуальностью роль.
А.Андреев |
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“The Whim” revives a play that has long wallowed in obscurity. In this case it is a comedy written by Pyotr Nevezhin in the 1870s, later reworked by the great Alexander Ostrovsky. And once again, Sergeyev bestowed the honors of leading lady on the magnificent Vera Vasilyeva. That is where the direct parallels with the previous show end, however. "The Whim," breezing through the rolling, musically inspired first act, and trudging rather heavily through the second act, is a much more intimate chamber piece than its flamboyant predecessor. Sergeyev's own set of an elegant oval drawing room -- where the grandeur of the essentially unfurnished room is achieved through a high ceiling and richly colored maroon walls -- remains unchanged except for the walls' increasingly tattered look as time passes. Nataliya Zakurdayeva's costumes are refined and subdued. Sergeyev reshuffled the relationships among the characters, returning to Nevezhin's original plan. Here, Serafima Sarytova (Vasilyeva) is a widow with two intriguingly mysterious daughters, Olga (Marina Yakovleva) and Nastya (Yekaterina Syomina). Their family's former wealth is slowly being squandered by the steward Barkalov (Denis Bespaly), an arrogant profligate who has captured Sarytova's fancy. Sarytova is described by the authors as "an elderly woman younger than her years." That is reason enough to make Vasilyeva the only actress I know who could possibly do the part full justice. Her radiant, sunshine smile, her waterfall laugh, the dancing light in her eyes and her effortless agility not only belie, but furiously defy her 70-something years. The buoyant musicality early on is derived not only from the songs Sergeyev carefully wove into the action, but from the ebb and flow he gave the actors' intonations of speech and subtly controlled movements. Sergeyev is never judgmental about Sarytova's caprice; his tolerance, even affection, for her weakness infuses Vasilyeva's performance with warmth and understanding. Most telling of the show's duality is Denis Bespaly's performance of the rakish Barkalov. In the proper circumstances this character might challenge Sarytova for the play's lead. But here, the steward resolutely remains an effective shading. Even that, however, is no mean fate. One could do worse than fall under the shadow of Vera Vasilyeva. As she demonstrates once again in this bittersweet comedy of late-blooming love, she is an actress of incomparable charm and impeccable talent.
By John Freedman The Moscow Times, Wednesday, May 21, 1997 |
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