"Twelfth Night" became a circus. Twelfth Night, or is it the same as the Moscow Council Theater Twelfth Night main roles
William Shakespeare
Shakespeare's bright and brilliantly funny comedy "Twelfth Night, or As You Please" tells about the extraordinary adventures of two twins Viola and Sebastian. And let the country of Illyria, where the brother and sister are abandoned by the will of fate, is fictional, the most real, exciting adventures await the heroes in it.
"Don't give up and don't give up!" - it is this principle that the characters of the play are guided by. After all, faced with obstacles on your way, you can become stronger and find true happiness, you just need to have a brave soul and be smart…
Performance duration: 2 hours 35 minutes with intermission.
Translation - D.Samoylov
Sonnets translated by S. Marshak
Stage director: Alexander Vilkin
Production Designer: Vasily Valerius
Costume designer: Elena Stepanova
Composer: Nikita Shirokov
Choreographer: Maria Ostapenko
Lighting designer: Anton Yudakov
Actors and performers
Reviews
“Thank you for a great time in your theatre. I liked the performance, it perfectly combines classics and modernity in the production. Great sets and costumes, great acting. Bravo, The Cherry Orchard!
“Yesterday, at the invitation of moscultura, I watched William Shakespeare's comedy Twelfth Night or As You Like at the Cherry Orchard ITC. I must say that I have long wanted to see the 12th night on stage, but so far somehow it hasn’t worked out. I read - I read, I remember our films both 56 and 78 years old ... And then suddenly I was lucky :) For adults, the production is beautiful, funny, light, cheerful - everything you expect from "12 at night" is present, despite some changes and sudden blotches of something modern. However, all this as a whole does not contradict the original source, which cannot but rejoice :) The performance is very beautiful, the scenery is good, albeit rather conditional. So are the costumes, by the way. Then I can begin to praise everyone :) Undoubtedly, Alina Gorbenko (Viola / Sebastian) did an excellent job with the role. She is so "girl-girl" as Viola-Cesario, and so "boy" as Sebastian, amazing. Everything changes instantly: gait, gestures, speech, timbre. It's even strange how Olivia could make a mistake and mix them up. Varvara Ivanova (Olivia) is beautiful, it is clear why Orsino suffers from her. Orsino (Mikhail Malikov), by the way, is very, very good. And he’s good-looking (so it’s not clear how Olivia could manage, rejecting Orsino, to become interested in Cesario! I refuse to understand this moment at all), and in the role of an unsuccessful lover, he is extremely convincing and sweet. A couple of Sirs Toby and Andrew, of course, the decoration of the performance. Utterly funny, confidently took on the role of "carpet" in the introduction, even though there is already a jester. Even two: Feste, the jester (Sergey Kovalev) and Fabian (Alexander Saveliev), suddenly in the form of Pierrot (here, by the way, Feste and Fabian are the essence of "tsani", if I'm not mistaken). On the other hand, Feste stubbornly reminded me of an eccentric professor who, for the sake of a joke, put on a jester's masquerade costume. However, how do I know what was Shakespeare's Feste? Certainly not a fool - so here it is just done :) Here Fabian is beautiful in the image of Pierrot. And how he sings, how he sings! :) I almost missed Maria (Lyudmila Kozhevnikova) and Malvolio (Vadim Raikin), both of them bravo! A resume is a wonderful thing for a light pleasant evening, I can fully recommend it. And I am glad that I managed to see this performance, for which I thank you once again to ITC Cherry Orchard, moscultura and ketosha :) In general, "Cherry Orchard" is an interesting place. I saw only two performances from their repertoire (in the fall I watched "Scandal, or What is not recommended for the public to watch"), but I hope to continue our acquaintance:)»
“Yesterday we watched a wonderful performance “Twelfth Night”. Very good! A combination of colorful comedy and good old classics. Great actors! I liked Igor Brovin very much, he played Malvolio with such movements!!! And what a smile he has! We applauded him for a long time and had fun. A wonderful couple Sir Andrew and Olivia's uncle! And Feste - so funny, easy moving and hooligan! And the actor who recited poetry dressed as Pierrot - when he looks into the hall, it seems that he is reciting poetry only to you. The best viewing experience ever! The girls and I fell in love with this wonderful theater - and a beautiful new building, and an auditorium with comfortable seats, and most importantly - performances. Now let's go to the Marriage"
“A true cuckold is only one who is unhappy, and beauty is a flower. (c) William Shakespeare. Translation. D. Samoilova And again, me and my theatrical impressions. This time, "Twelfth Night, or whatever" in the already beloved Moscow theater center "Cherry Orchard". The story invented by Shakespeare already in 1600 and in 2018 is still bright, colorful, full of frivolous hints and comic incidents. Illyria in this version of the reading of the play is Venice. The central actors and characters and the extras are the characters of the Venetian carnival. The costumes of Feste, Fabian and Maria are the classic costumes of the heroes of the Italian comedy, once painted by the artist Maurice Sand, son of the writer George Sand, as well as the heroine of the play Viola, who had a penchant for dressing up in men's suits. A little about the actors and heroes: And Fabian, in the costume of Pierrot by Alexander Savelyev, and Festa, in the costume of Harlequin, by Sergey Kovalev are the real (bravo, bravo) true heroes of the Comedy Del Arte. In their intonations and manner of communicating with the audience, I personally saw subtle parallels to my favorite classical "Vakhtangov" Turandot, which is why I immediately got into the characters. And special thanks for the heartfelt sonnets. They were very good in contrast. Sir Andrew Aguechek in the play looks like several similar characters at once - cowardly, kind, drunkards, such characters are drawn by Shakespeare himself in his other plays, and you can find his brothers in Lope de Vega and Gozzi. Actor Alexei Schukin's Sir Andrew came out touchingly infantile, completely defenseless, childishly sincere and of course absolutely, as it should be according to the script, dissolved under the powerful influence of his friend Sir Toby. Sir Toby Belch, performed by Alexander Volochienko, in my opinion, is a ready-made Falstaff. Even the hero costume is quite usable. And his muse Maria, performed by Lyudmila Kozhevnikova, as Colombina should be, is both charming and pretty - everything the author wanted. Viola by Valentina Emelyanova is resolute, charming, noble, and it is quite understandable why she so easily captivates Olivia, who is bored and hiding behind her grief from boredom, performed by Varvara Ivanova. Against the backdrop of a handsome, masculine, yes, but completely stupid and boring Orsino, performed by Timofey Yakomulsky, she certainly wins. In this whole story, it is Malvolio that seems to me from my youth to be unjustly offended. To be in the place of Malvolio is sad. Because no matter how self-centered and proud you are, if someone even jokingly plays with your feelings, this punishment is harder than the physical one, because the soul hurts from it. All the time I thought that Vadim Raikin in the costume and make-up of Malvolio is actually handsome and very similar to the classic engravings with a portrait of Cervantes. And even yellow stockings and scarlet garters do not make his hero clumsy and funny. Rather offended and unhappy. Everything is decided by his majestically pompous gait and the movement of his hands. They are the ones who amuse and make you laugh at the character. Such is the miracle of plastic movement. Somehow completely separate, it looks like an independent story or a divertissement scene with a gravedigger performed by Janis Jakobson. I want to immediately know more about the hero and the curiosity of the viewer remains unsatisfied. The character is not paramount. Just like Antonio, Denis Kravtsov's performance is obviously a noble and handsome character, whom Shakespeare absolutely does not allow to develop within the framework of the action. Separately about dances. It is the dances that give the necessary carnival colors to the whole story. Many thanks to the actors, because they dance exactly as it should be for dramatic actors, conveying characters through movements. Great, light show. Quite Shakespearean. I recommend to distract from sad thoughts. I was laughing."
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About the performance
This is a project of the International Theater Festival. A.P. Chekhov, the International Confederation of Theater Unions in cooperation with the theater "Chick by Jaul" (Russia - Great Britain). The performance was created by the creative tandem of British director Declan Donnellan and artist Nick Ormerod with Russian actors. The premiere took place in 2003, at the V Chekhov Festival, and since then "Twelfth Night" has toured extensively and successfully around the world: from France and Great Britain to Brazil and Chile, Australia and New Zealand, where it has consistently received the warmest reviews from the audience and high ratings of leading theater critics.
Directed by Declan Donnellan
Artist - Nick Ormerod
Cast: Igor Yasulovich, Alexander Feklistov, Mikhail Zhigalov, Andrey Kuzichev, Dmitry Shcherbina, Jan Ilves, Evgeny Samarin, Ilya Ilyin, Sergey Mukhin, Igor Teplov, Vsevolod Boldin, Sergey Zaitsev, Denis Beresnev
“Like the heroes of a play drugged by love, the viewer sometimes wants to pat himself on the cheek in order to dispel what seems like a perfect obsession, literally “leads the mind beyond reason.”<...>One piece of advice regarding Shakespeare: stop trying to analyze what is happening and surrender to the will of the senses. With excellent guides such as British director Declan Donnellan and artist Nick Ormerod, you can safely surrender to the will of the waves without fear of drowning.
The New York Times
"This is a performance in which charming lightness is combined with outbursts of farcical tricks and very extraordinary decisions."
The Independent
“So why do they love Donnellan? Well, at least for the fact that his performances do not exhaust his brains and do not tear his soul with their greatness. They are simply enchanting. They do not, perhaps, have new forms, but there are mental health and amazing elegance. Going to Donnellan's performances, you can forget about your school compositions, other people's scientific papers and various theatrical interpretations. The director is not concerned with tradition, he is concerned with life - alive, infinitely diverse, rapidly lived. He is always attentive to the plot and, above all, tells stories - funny, sad, tragic, all sorts.
Marina Zayonts, "Results"
International Theater Festival. A.P. Chekhov, which celebrated its 25th anniversary in 2017, once every 2 years presents to the audience of Moscow and the Russian regions the brightest and most talented performances of theater directors and choreographers from all over the world. Over the years of its existence Chekhov Festival together with the world's leading theaters and directors has created many productions. The performances staged by Donnellan - "Twelfth Night", "The Tempest" by W. Shakespeare - are perhaps the most beloved by the audience.
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Additional Information
The duration of the performance is 2 hours 30 minutes. (with intermission)
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Theater address: Mayakovskaya metro station, Moscow, Bolshaya Sadovaya st., 16
- Mayakovskaya
- Tverskaya
- Chekhovskaya
- Pushkinskaya
The Mossovet State Academic Theater was established in Moscow in 1923 and for a long time went hand in hand with the decrees on building communism and developed socialism. The power of the Reds was barely established in the country, and someone had to reflect the interests of the young society, overwhelmed by the desire to implement all possible, and for the most part impossible, social projects.
As part of the new work, which glorified the heroes of labor and the winners of social competitions, a new theater named after the Moscow Provincial Council of Trade Unions of the MGSPS was created, and the famous director and actor of the Lyubimov-Lanskaya era took over the theater. The theater that dedicated its repertoire to the image modern people and staged exclusively Soviet playwrights, was soon renamed the Theater named after the Moscow Regional Council of Trade Unions, and Zavadsky became the editor-in-chief in it, having adopted the skill from Stanislavsky himself and Vakhtangov.
Repertoire and actors
The theater for its rather long history has gathered entire constellations of actors, laureates of all possible awards and holders of the most honorary awards. Faina Ranevskaya (“Vassa Zheleznova”), Lyubov Orlova (“Strange Mrs. Savage”), Leonid Markov (Arbenin in “Masquerade”), Boris Ivanov (Pontius Pilate in the musical production of “Jesus Christ Superstar”) and many others played in it. a lot others. At the moment, in the theater, which has acquired a much more euphonious name, the most recognized and beloved actors are Serey Yursky (“Foma Opiskin”), Georgy Taratorkin, Valentina Talyzina (Anna Antonovna in Krechinsky’s Wedding), Olga Ostroumova (grandmother in the production of “I , grandmother, Iliko and Illarion), Alexander Lenkov, Alexander Yatsko (Tsar John, Pontius Pilate, Svidrigailov), Olga Kabo, Alexander Domogarov (Astrov, Cyrano de Bergerac), Viktor Sukhorukov (Tsarevich Fedor), Pavel Derevyanko (little Tsakhes).
Of course, times have changed, the theater’s repertoire has not been limited to socialist realism for a long time, and here you can watch plays for every taste: from musicals and children’s plays to plays by Chekhov and Dostoevsky, so every spectator will find something to their taste and afford. As of 2018, the director of the theater is Honored Worker of Culture of Russia Valentina Tikhonovna Panfilova
This metropolitan area is located in the central part of Moscow, not far from the intersection of Tverskaya and Bolshaya Sadovaya streets. Another landmark is Triumphalnaya Square, in the center of which there is a monument to Mayakovsky. The closest metro station to the theater is Mayakovskaya. You can get to it using the Zamoskvoretskaya branch. You will come to Tverskaya street. Turning right and walking along this street for a few minutes, you can easily find the building of the Moscow City Council Theatre.
Photography is the official community of VKontakte.
The play "Twelfth Night" has always been very to my liking, but the production of the Globe Theater exceeded my wildest expectations - this is a true masterpiece!
The story itself is simple, sweet, and witty. And, in my opinion, it tells that the gap between male and female perception of the world is not as great and dramatic as it seems, but with good will and a share of irony it is quite surmountable. As for me, there are not even negative characters, all the characters are quite funny and cause sympathy.
There are a great many productions and adaptations of Twelfth Night. I love the 1996 film Twelfth Night or What You Will with Helena Bonham Carter, Imogen Stubbs, Richard E. Grant and Stephen McIntosh, and the wonderful Pyotr Fomenko Theater production with Ksenia and Polina Kutepov. And yet, I repeat, I could not even imagine how much I would be pleased, amazed, inspired by the "Globe"! A complete feeling of moving in time and space straight into the theater of Shakespeare's times. And thanks to the concept of the performance, when female roles are played by men, and thanks to incredible costumes, and fantastic English pronunciation, which I don’t really understand, but I can enjoy endlessly.
Despite the fact that the plot has long been known, no surprises are expected, you look forward to and childishly rejoice at each new remark. The feeling of being in the theater is completely complete, the audience laughs and applauds, although the actors on the screen will not hear the applause. There is an obvious advantage of showing in a cinema - close-ups that allow you to catch all the nuances of the actors' performance, as well as a better look at luxurious costumes and expressive makeup. I really liked the musical numbers, which further enhanced the feeling of a medieval theater - this magical dance in the finale and the songs of the jester Feste, so beautiful, touching and funny, with and without music, masterfully performed by actor Peter Hamilton Dyer.
Of course, the acting is beyond praise!
The biggest name in this ensemble cast is definitely Stephen Fry. The embodiment of everything British and the standard of the most refined classical English. Obviously, praising Stephen Fry is like trying to add water to the sea. He is amazing and everyone knows it! And although Malvolio is not the most positive character, you empathize with him unconditionally in Fry's performance. Moreover, despite the comedic background, the actor does not overact a bit, he is completely sincere and very natural.
I want to separately mention Samuel Barnett, who played Sebastian absolutely amazingly. This character appears on the stage for a relatively short time, but he is very important for the play. Sebastian is akin to Alice in Wonderland: an ordinary person who accidentally gets into a very unusual adventure, a kind of game, the rules of which he does not know. But his ability to deal with the strangest conflicts of life with an open heart makes possible a happy ending to the whole story.
Although "Twelfth Night" deserves 12!
When this Shakespearean comedy first appeared on the stage of Sovremennik, many wondered whether such a choice of play was a departure from the “general line” of the young theater, which was embedded in its name. Perhaps, no one would have taken up Shakespeare at that time within the troupe itself, but the invited English director Peter James was far from such reflections. He staged Shakespeare on the Moscow stage in the way that a young Englishman should have staged - without deviating from the "letter", but filling it with new lightness and freshness.
The performance turned out to be contagiously cheerful, poetic and sometimes mischievous. But the main thing in it was the very unrestrained element of the game, which the playwright himself would not disdain. James in this romantic comedy decided to emphasize its fabulous character, bringing it closer in its mood to another Shakespearean comedy - A Midsummer Night's Dream. She was immediately remembered as soon as singing and dancing cheerful spirits appeared on the stage as a kind of prologue, evoking the prankster Peck. They reappeared more than once along the way. The performance ended with their musical part.
From the very first minutes, these perfumes tuned in to festivity and humor, and also immersed the viewer not only in the game element, but also in the element of sleep - a beautiful magical dream, where everything is mixed up and mixed up, as soon as it can be in a dream. Iosif Sumbatashvili's bizarrely elegant stage design, devoid of any details, also hinted at a fantastic dream. The magical Illyria created by him appears as a kind fairy-tale country, the inhabitants of which are carelessly cheerful, and the serene life of dukes and courtiers is only occasionally overshadowed by outbursts of unrequited love.
A fairy tale story with disguise and deceit, with philosophical songs of a jester unfolds with plastic smoothness, the dialogues are swift and sharp. Youth and love triumph on the stage. The Duke-poet Orsino is young and bored. In the languid play of Yuri Bogatyrev, in his melodic speeches and smooth movements, there seems to be no place for any bright feeling, but nevertheless he will be in the grip of the same all-consuming love, described in all colors by Shakespeare.
Young bored beauty Olivia. Anastasia Vertinskaya plays a kind of Snow Queen, cold and impregnable, but also defeated by magical spells. A capricious and eccentric girl, a wayward enchantress, she is touchingly funny in the awkward manifestations of her first true love. In this performance, it probably became obvious that Vertinskaya's role is by no means limited to lyrical heroines, that comedy, perhaps even more inherent in her genre. (Once again, this will clearly manifest itself in Efros's "Tartuffe").
"Twelfth Night", in general, has become for "Sovremennik" a parade of acting successes, where everyone deserves a separate article. The comic trio is hilarious here - Sir Toby (Pyotr Shcherbakov), Sir Andrew (Konstantin Raikin) and Maria (Nina Doroshina). Moreover, the eccentric Enryu Agyuchik from Raikin became for many almost the main comic star of the performance. His virtuoso plastique, this utter disintegration of his body, thoughts, and intonations, created a truly ridiculous, but at the same time extremely sympathetic image.
Or the swaggering Malvolio in the jokey performance of Oleg Tabakov. Here everything works to create the only true "image" - even the gracious squint of eyes running around in search of the place that alone is worthy of accepting their owner.
Or the sad jester Feste, whom Avant-garde Leontiev plays with the face of a satyr and the soul of a skeptic. His jokes are bitter, and his witticisms are sour. A melancholic jester, a philosopher with a stupid rattle.
But the center of the performance - the focus of its poetics, romanticism, comedy and magic - is, of course, Marina Neelova. In the stage version, she took to the stage as Viola, while the TV screen gave the actress the opportunity to become one in two persons and also play her twin brother Sebastian. Viola Neelova is a fragile and cheerful creature, even at the slightest contact with which each of the characters seems to get a portion of pure sunshine. Viola - her love is a little more "real" than others; Yes, and she herself is more "real". It is in Neelova's game that comedy sometimes approaches drama, but never oversteps the bounds. And that is why Viola's final smile, filled with triumph, is so radiant - after all, it contains not only the joy of victory, but the memory of how much effort had to be made to achieve it.
Here is such a theater and a holiday. Such a magical dream that turned into a happy awakening for the characters, and for the audience - a long aftertaste of genuine and inventive theatricality.
Translation from English - Elga LINETSKAYA
Stage director - Vyacheslav DOLGACHEV
Production designer - Margarita DEMYANOVA
Composer - Larisa KAZAKOVA
Choreographer - Anna MELOVATSKAYA
Director assistant - Alexey SPIRIN
The performance is attended by a quartet of musicians consisting of:
Violin - laureate of international competitions Alexander BARKLYANSKY / Anton USATYUK
Flute - Igor SUNTSOV / Denis TUMANOV
Bassoon- Ilya BONDAREVICH/Mikhail NARTSISSOV
Guitar- Sergey BARINOV
Performance duration: 3 hours 10 minutes (with one intermission)
Shakespeare's comedy has been staged countless times, and each version claims originality in its own way. Now the New Theater has turned to the famous text of the world's greatest playwright in order to take a fresh look at the story he told, which can turn out to be much deeper than a simple situation comedy! ..
Vyacheslav Dolgachev (stage director of the play):“I never staged Shakespeare at all. Maybe the impetus was that I saw several performances in a row of this play, including a recent performance at the London Globe Theater. Absolutely brilliant artists play there, they play wonderfully, but I had a lot of questions that these performances did not answer me. Why do the audience laugh when there is nothing so funny in the text or in the plot situations themselves? Are Shakespeare's comedies really that funny? And I got into the play, and it attracted me very much. Here I will try to answer my own questions in some way. Both for myself and for the public. The biggest difficulty is the text of Shakespeare, it is magical. Saying all this and living at the same time is not so easy. And if the subject of consideration is falling in love, love and true love ... Yes, yes, I didn’t make a reservation, we wander a lot in anticipation of true love, taking ANYTHING for it. In addition, all the characters in the play are not quite the same as others see them. "I'm not me, but..." - each of the participants in this incredible story, in which ANYTHING can be, could say.
