Ticket prices:
Balcony 950-1300 rubles
Mezzanine 1100-1400 rubles
Amphitheater 1100-1600 rubles
Benoir 1600-2600 rubles
Parterre 1000-3700 rubles
Stage Director - Vladimir Mirzoev
Set Designer - Anastasia Bugaeva
Costume Designer - Alla Kozhenkova
Lighting Designer - Maya Shavdatuashvili
Composer - Faustas Latenas
Musical director - Tatiana Agaeva
Choreographer - Artur Oshchepkov
Make-up artist - Olga Kalyavina
Sound engineers - Anatoly Ibragimov, Ruslan Knushevitsky
Director Assistant - Marina Marchenko
Characters and performers:
Count Almaviva: Maxim Sukhanov
Countess, his wife - Marina Esipenko, Anna Antonova
Figaro, Count's Valet - Leonid Bichevin, Dmitry Solomykin, Pavel Popov
Suzanne, the countess's maid - Polina Kuzminskaya, Lada Churovskaya
Marceline - Marina Esipenko, Vera Novikova
Cherubino, Count's Page - Maxim Sevrinovsky
Basil, music teacher - Eldar Tramov
Bartolo, doctor - Ruben Simonov, Oleg Lopukhov
Don Guzman Briduason, judge - Alexander Pavlov
Dublman, court clerk - Eldar Tramov
Antonio, gardener - Alexander Galevsky
Fanshetta, his daughter - Asya Domskaya, Polina Chernyshova
The theater's orchestra artists take part in the performance:
Mikhail Ainetdinov
Valeria Dmitrieva
Polina Evlanova
Olga Zhevlakova
Vladimir Sveshnikov
Evgeny Poltorakov
Nikolay Myziko
The immortal creation of Beaumarchais, which over time has not lost its charm, energy, wit and sharpness of intrigue, is known to many. Another of the characters of A. Pushkin said that this work is an excellent remedy for dark thoughts and is able to cheer up like champagne. Since then, a lot of water has flowed under the bridge, meanwhile, it is unlikely that today anyone would think of challenging the opinion of the great poet. A crazy day or a figaro marriage is a great way to disconnect from the hustle and bustle of the day and cheer yourself up.
And even despite the fact that Figaro in modern perception is not at all a symbol of the coming revolution, which actually angered the upper classes of Paris during the premiere of the play, this hero attracts attention with his independence, resourcefulness and thirst for truth. Figaro is an intelligent man of a new era, of new ethical principles in conflict with traditions that have outlived themselves.
Why "Crazy Day ..."? And how else can you name the day on which everything was intertwined in such an intricate way that the resolution of these intricacies required incredible efforts of the protagonist, thanks to which, in fact, everything was resolved in the best possible way.
The design of the performance does not correspond to the era of the creation of the work. Vladimir Mirzoev presented this story through modern views and reveals the mores of modern society.
Tickets to the Vakhtangov Theater are always a gift to yourself and your loved ones.
Choosing a performance, I was reinsured - I wanted something guaranteed to be funny, and so familiar was a guarantee that I would not jump with my eyes closed 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 Satire Theater on the "Culture" channel. It's shown about twice a year, and I've watched it about two hundred times already. I know every phrase there. It was filmed in 1974, has already faded, but I believe that someday it will be painted like old cartoons, because this 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 - no less than Andrei Mironov!
Therefore, 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? I thought so too). The whole performance is based on him. Each of his words and phrases is unexpected, funny and original. At the same time, the play is played quite close to the text, apart from 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, WHAT exactly Sukhanov will say, or HOW he will say it! In a word, I am delighted with him, how great he is! He's brilliant.
In fact, he is like this:
And the one who came up with a dandelion 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 is, as it were, flat and one-sided. Well, he loves and suffers, there is nothing interesting about it. Mironov brought a touch of corruption to this role, it was clear that his Figaro was not Romeo at all, not an idealistic Don Quixote, but quite on his mind, a well-worn horse-radish man, 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 play of the actor playing the role of Cherubino, Maxim Sevrinovsky. There is something in him ... Not just a quivering young page, but a quivering young page with whom it might be interesting, hhm-hhm.
Countess Almaviva surprised. In my favorite production from '74, she is just a kind little wife (performed by Vera Vasilyeva), all of herself is so correct (although she agitates with Cherubino), and in the Vakhtangov version of Almaviv (A. Antonov), it seems like "on substances", all so modernized by migraines and insomnia. It's funny, in a word.
In short, I absolutely love it! So I recommend, highly recommend!
This play is a masterpiece of world literature. Beaumarchais wrote it as the second part of the Figaro trilogy. She inspired Mozart to create an opera. To this day, production directors all over the world take on the production of this plot. Very soon, the Vakhtangov Theater will host the eponymous premiere - performance Crazy Day, or The Marriage of Figaro, tickets which you can purchase right now on the VipTicket website.
Rehearsals of this event were attended by such wonderful artists as Maxim Sukhanov, Marina Esipenko, Anna Antonova, Leonid Bichevin, Dmitry Solomykin, Pavel Popov, Maria Berdinskikh, Polina Kuzminskaya, Lada Churovskaya, Ruben Simonov, Oleg Lopukhov, Alexander Galevsky, Alexander Pavlov, Vera Novikova, Eldar Tramov, Andrey Zlobin and others. Buy tickets for the play Crazy Day, or the marriage of Figaro worth seeing a magnificent production from director Vladimir Mirzoev.
He very extensively explained his opinion about this event: “When choosing a material, the main thing for me is the topic. I saw the opportunity for a very important conversation. About how a modern person is forced to submit to archaic practices, how the elite mentally does not keep up with a society that is rapidly being renewed. After all, the vector of time is still directed to the future.
But Beaumarchais's anthropology is not didactic - it is a cheerful vitamin hidden among the sweet berries of eroticism, dressing up, and theatrical play. We, like children, swallow a juicy, clever text, not 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 show is not a modernization in the strict sense of the word. But eclecticism, dynamics and, most importantly, madness here are quite in the spirit of the current postmodernism.
A masterpiece of literature in a competent perception
Isn't it true that life itself today looks like a strange collage - of mythologies, customs, delusions. Therefore, Mozart and Rossini can easily drop in on a visit to the African leader, sit by the fire, and have a cup of coffee. Sometimes it is difficult to understand which century we are in: either in the middle of the 20th, or in the 17th, or in the 21st. "
Play Crazy Day, or Figaro's Marriage in Moscow 2015 will be a really big event. As for the biography of director Vladimir Mirzoev, the number of theatrical performances in it is really impressive. They are on the stages of the Vakhtangov Theater, the Teatrium on Serpukhovka directed by Teresa Durova, the Lenkom Theater, the Stanislavsky Theater, the Russian Drama Theater of Lithuania, the independent theater project STD. Crazy Day tickets, or the marriage of Figaro will allow you to see the premiere from a famous public and theatrical figure. He became a laureate of the State Prize of Russia in 2001. He is also known for his political views.
He more than once became the initiator of collective letters and statements addressed to the first representatives of the state. But, above all, he devotes himself to the theater. And there is no doubt that the audience will see a very entertaining premiere, which they will want to think about even after watching. If you want to organize a cultural holiday for yourself, then you should buy tickets for the play Crazy Day, or the marriage of Figaro.
As always, the VipTicket website makes it even easier to attend this event. Convenient delivery to all districts of Moscow is at your service. Enough to do booking tickets for a Crazy Day, or the marriage of Figaro and you will receive them at a convenient time.
This is already 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 have two different plays before us. How did Suzanne sing there at Beaumarchais? "Here the voice of reason has mixed with the brilliance of light chatter"? So nothing got mixed up. For the voice of reason, come to the Pushkin Theater, for light and half-mad chatter - to the Vakhtangovites.
The difference will be striking, even if you do not look at the stage, but simply compare the statements of the directors. Pisarev, for example, wincing at the word "insane", got rid of the first part of the title, leaving only "The Marriage of Figaro" on the poster. This is understandable: his performance is moderation and accuracy itself. Mirzoyev, on the other hand, admits: "I would have removed the" marriage "and even the intriguer Figaro from the poster, if it had not confused the viewer."
I don't know why Mirzoyev was scared there. Confusing the viewer is his signature directorial feature, and Crazy Day was no exception to the rule. But the fact that Mirzoyev will quietly wind up the wedding of Figaro and Suzanne will really become clear not at the first glance at the poster, but only in the finale 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 madness. And the director wants the madness not to end, so that they rush after us. Therefore, he will confine himself to making the sulky Almaviva pout guiltily in the finale and say: "I will not be any more." Which, of course, no one will believe.
As for the "intriguer Figaro", whom Mirzoyev was going to remove from the poster, he is, in fact, deleted in the play. Firstly, we are not at all an intriguer, but simply a naive and enthusiastic young man who, due to his headlessness, would have completely disappeared without the cunning Suzanne (Lada Churovskaya). And secondly, his role is very narrow and, as soon as Almaviva - Sukhanov appears on the stage, Figaro is hopelessly obscured against his background. Leonid Bichevin (in other representations of the count's valet, both Dmitry Solomykin and Pavel Popov can play) plays not the role of a servant, but an official 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 popular common sense, and the countless arbitrariness of Almaviva threatens to make mad not only one day, but the entire 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 the work of Almaviva - Cherubino (Maxim Sevrinovsky; in another cast, this role is played by Vasilisa Sukhanova), ready to sleep with all 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 performance "Don Juan and Sganarelle" at the Vakhtangov Theater, where the same Maxim Sukhanov played the main voluptuous of all times and peoples. The lustful master is again opposed by a prudent servant, but the director's sympathy is again on the side of the former.
Other parallels can be drawn between Mirzoyev's Moliere and Mirzoyev's Beaumarchais: we have before us, like nine years ago, an eclectic musical show, where a funny song is always more important than boring classical lines. Then they sang the blues, now they give preference to exquisite blatnyak or songs based on Beranger's poems, 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?
16+
Stage Director - Vladimir Mirzoev
Set Designer - Anastasia Bugaeva
Costume Designer - Alla Kozhenkova
Lighting Designer - Maya Shavdatuashvili
Composer - Faustas Latenas
Musical director - Tatiana Agaeva
Choreographer - Artur Oshchepkov
Make-up artist - Olga Kalyavina
Sound engineers - Anatoly Ibragimov, Ruslan Knushevitsky
Director Assistant - Marina Marchenko
Characters and performers:
Count Almaviva: Maxim Sukhanov
Countess, his wife - Marina Esipenko, Anna Antonova
Figaro - Count's Valet - Leonid Bichevin, Pavel Popov
Suzanne - Countess' maid - Polina Kuzminskaya, Lada Churovskaya
Marceline - Marina Esipenko, Vera Novikova
Cherubino, Count's Page - Maxim Sevrinovsky
Basil, music teacher - Eldar Tramov
Bartolo, doctor - Ruben Simonov, Oleg Lopukhov
Don Guzman Briduason, judge - Alexander Pavlov
Dublman, court clerk - Eldar Tramov
Antonio, gardener - Alexander Galevsky
Fanshetta, his daughter - Asya Domskaya, Polina Chernyshova
The theater's orchestra artists take part in the performance:
Mikhail Ainetdinov, Valeria Dmitrieva, Polina Evlanova, Olga Zhevlakova, Vladimir Sveshnikov, Evgeny Poltorakov, Nikolay Myzikov
The performance includes music by W. Mozart, G. Rossini, L. Boccherini, I. Bach
“If dark 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 advantage of the advice of the great poet. The charm of the Beaumarchais comedy did not fade, its energy, excitement, irony, humor, virtuosity of intrigue seemed to have gained even greater sharpness and brilliance over the years. And although Figaro is interesting for us today not as a harbinger of revolution, which angered the ruling class in Paris in the era of the premiere of the play, the folk hero attracts with his independence, resourcefulness, restless spirit of the truth-seeker.
Crazy day ... The stylistics 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, entangled, and thanks to the efforts of the hero, it was happily resolved, and the right of the first night, which formerly belonged to the Count, is today faced with intransigence Figaro, a man of new times, new ethical laws. The conflict is in the contradiction of the modern intelligent personality with the customs and practices that have outlived their usefulness.
The artwork and costumes do not match the time the comedy was written. The director tries to present this story through the prism of modernity, depicting the mores of society, teaching, entertaining.
The 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”, there is often a magical “or”. This variability of theater and culture in general is dear to me. Moreover, the second part of the title 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 have removed from the poster both the "marriage", and even the intriguer "Figaro", if it did not confuse the viewer.
You used to stand in front of the ocean of classical drama and try to feel something, catch your wave. But this is not fashion, no, it is not a question of where the wind blows. When choosing a material, the main thing for me is the theme. In Crazy Day, I saw the opportunity for a very important conversation. About how a modern person is forced to submit to archaic practices, how the elite mentally does not keep up with a society that is rapidly being renewed. After all, the vector of time is still directed to the future. But Beaumarchais's anthropology is not didactic - it is a cheerful vitamin hidden among the sweet berries of eroticism, dressing up, and theatrical play. We, like children, swallow a juicy, clever text, not 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 show is not a modernization in the strict sense of the word. But eclecticism, dynamics and, most importantly. The madness here is quite in the spirit of current postmodernism. Isn't it true that life itself today looks like a strange collage - of mythologies, customs, delusions. Therefore, Mozart and Rossini can easily drop in on a visit to the African leader, sit by the fire, and have a cup of coffee. Sometimes it is difficult to understand which 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 duration of the performance is 3 hours with one intermission.