The avenger have caughtYesterday at Theatre of light opera the premiere of a musical Julia Kima and Ignatyev`s Novel " has taken place; Monte - Cristo “. Completely the Russian product made under the foreign recipe, has forced MARINA - SHIMADINU to get sad about national kitchen.
in general - that for Theatre of light opera it not the first experience of creation of original musicals. But if children`s performance “ Maugli “ or “ the Ricochet “ were faster small local pleasures, “ Monte - Cristo “ is a call of theatre to French musicals going on its scene, performance which should prove, as we can is not worse.
under this patriotic campaign by the Moscow government considerable means, figure with vosemju in zero have been allocated appeared in all mentions of the future premiere. From here there were some fears: the more to us show off, the there is a result more modestly. But in a case with “ Monte - Cristo “ These fears have not justified.
performance of Theatre of light opera is made at quite worthy level, and it is not a shame to put it near to the French predecessors. As it in this number actively arises. Music, scenery, suits, statement - all continues traditions “ Notr - the Lady “ and “ Romeo and Juliette “ so the tempted spectator can have a good time at performance by game “ find ten differences “.
it is clear that the certain stylistics are dictated by already chosen plot. The novel Duma transfers spectators to old kind France, only instead of a cathedral of the Parisian Mother of god on a scene walls of magnificent Parisian palaces tower. Opera artist Vyacheslav Okunev has thought up excellent functional scenery: five mobile bent towers, being turned on a scene, turn that to silhouettes of the ships, on one of which captain Edmon Dantes, in Chateau d`If dungeons, in palace facades comes back home. These transformations are promoted in many respects by the tremendous light score composed by one of our best theatrical artists all over the world by Gleb Filshtinsky. A unique puncture of a visual number - the plasma screen which does not fulfil in performance and third of the cost. Directors use it as photowall-paper: during lyrical scenes on a back serene clouds run, and at anxious moments the storm sky flashes. The main trick - Dantes`s runaway from prison - and that is solved without the aid of the screen, the elementary and true theatrical means.
one more good luck of statement is a ballet group. All second action of a musical occurs on ball at count Monte - Cristo, and Irina Korneevoj`s not banal, interesting choreography performed by the vigorous harmonious ensemble representing greedy to sensations and exposures public, sets the fashion to this gloomy party.
the disturbing theme of masquerade leaves on the foreground and in music of the Novel of Ignatyev. Though the young composer did not manage to create any hit of level “ Bell “ or at least “ Kings of night Verona “ from “ Romeo and Juliette “ in its score combining old-fashioned romanticism with a modern drive, there is a pair of threads which are remembered at least because time ten, and some strong duets on drama heat and solo arias repeats. But why - that for the most shock, key moment - where count Monte - Cristo at last unmasks, - at the composer and the author of the libretto Julia Kima has not sufficed harmonies and rhymes, and the hero had to tell about the past in prose.
however, to these events the first certificate tracing history of Edmona Dantes from not taken place wedding before runaway from Chateau d`If has been devoted. Some subject lines here inevitably should be offered, some characters at all to lower, and others to combine two in one, but also with these reductions from the first certificate there is an impression of fluent retelling, especially by contrast with the second - transformed into one big developed scene.
as to troupe the skilled actors who have passed school of other Moscow musicals enter into both casts basically: Alexander Marakulin, Maxim Novikov, Alexander Golubev, Alexander Postolenko, Anna Guchenkova, Lika Rulla, Alexander Babenko and others. But many act here in new to themselves role. For example, Igor Balalaev known on the character parts (Pussycat Vorobjaninov in “ Twelve chairs “ an old cat Guus in a musical “ Cats “) Has unexpectedly appeared in an image of the drama hero, convincingly having played starry-eyed and naive Edmona Dantes`s regeneration in all-powerful, but internally devastated count - the avenger. It is interesting that other executor of this role Vladimir Dybsky cardinally differs from the workmate both on a vocal, and on an actor`s manner, and on external shape - so the spectators who have got on different structures, possibly, will see two absolutely different Edmonov.
And here two heroines are present dark horses of a musical. Directors have appointed Mercedes to a role of two beginners in this genre of the actresses, known public has more on serials, - to Valery Lansky and Anastas Makeevu. The first of them yet quite consults with the party, but experience shows that in musicals of daily display (and “ Monte - Cristo “ Gather prokatyvat blocks on two weeks in a month) actors have the big odds for growth, and, probably, in due course young performers can be tightened to the general level of troupe.
as a result after a premiere “ Monte - Cristo “ on a question, whether we can do musicals “ as at them “ it is possible to answer firm yes. But here there is other question: instead of whether instead of imitating the western samples better, to search for own national person of a genre? Than we eventually are worse than the same Frenchmen who did not begin to follow Broadway game rules, and have thought up the and consequently have won.