To eat it is not submittedYoung director Simeon Aleksandrovsky has put Maxim Kantora`s political play “ Evening with a baboon “ on a scene true to a parkway aesthetics of the Academic theatre of a name of Belief Komissarzhevsky. This paradox does not surprise DMITRY grieving over killed evening RENANSKY.
the Today`s theatrical situation of Petersburg is worthy a feather unless Daniel Kharms. Who could think that bearing a respectable name of great Belief Komissarzhevsky the scene becomes a stronghold of parkway theatre in its cleanest kind. In expectation of the next arrival of main invited director Alexander Morfova the theatre repertoire on Italian fills with the statements, aspiring to please tastes of as much as possible wide spectator weights. Put basically plays on theme of everyday life on a modern material with the obligatory love intrigue diluted with elements of a farce and a vaudeville. The opus of the fashionable artist, and for quite some time now also writer Maxim Kantora entirely corresponds repertuarnym to canons of this theatre. Say that the grandfather of the author “ the Supper with a baboon “ was the Spanish-speaking playwright, but to suspect the mister of the Cantor of genetic relations with theatre Lope de Vega or Calderon it is resolutely impossible: in its play is not present either dashing intrigues, or impudent theatricality. But in “ the Supper with a baboon “ there are two unsuccessful married couples - mese Cousins are changed to the wife from madam Kurochkinoj. For a sharpness the shocking shred is added: spouses should play cards against each other, and lost it will be fated to go on kitchen and to return to a dining table already in the kind cut and prepared by cooks. Over Komissarzhevkoj the phantom kannibalizma definitely soars: with superfluous year back local native Alexander Isakov already put four at theatre on Italian “ Namesake Schweitzer “ Victor Shenderovich in which missionaries of the United Nations were eaten alive by inhabitants of the African jungle. The mister the Cantor tickles nerves accurately - in the play ending ostensibly eaten heroine comes back to a table live and safe: it is rescued by the servant sending on sacrifice not particularly whom.
probably that married off Komissarzhevke “ Evening with a baboon “ director Simeon Aleksandrovsky was involved not with these frivolous sjuzhetets, and circumstances aggravating it: at supper in the house of the leader of democratic party, and in combination the gangster, meet the poor historian of culture and rich, but the selling writer spouses. Are as consequence inevitable firm kantorovskie reflexions about criminality of a democratic system, hristoprodavtsah - intellectuals and intrigues world zakulisy.
the performance Most part the best forces of Komissarzhevki vainly and strainedly try as - to save that situation komikovaniem within the limits of the roles - Alexander Bolshakov starts all best gangster intonations, Alexander Ronis phlegmatically fumes, Margarita Bychkova gives out komedijno a woman`s habit, Christina Kuzmin charmingly strives eyes. Presence on a scene of the director is guessed only in the general pathological gravity of an event on a scene.
It is said that Maxim Kantora`s novel “ the drawing Textbook “ it is ingenious, and its plays are difficult be not to taking away on citations like the actual formula “ Card rules the most strict on light, they even more religiously, than the constitution “. But these stagings filippiki hardly probable give in: the vaudevillian form “ Evenings with a baboon “ Caves in under weight of the accusatory maintenance, and Simeon Aleksandrovsky`s performance is scattered on badly mizanstsenirovannuju (the key scene of gambling appears for spectators almost invisible) an oily intrigue and an ideological verbal oil cake. The young director himself is guilty: has set to itself excessive work on ochelovechivaniju kantorovskogo pseudo-philosophical space, - and to sympathise with the recent graduate of the Lion of Dodin does not follow. The second season in succession the mister Aleksandrovsky puts not performances, and provocations - it “ the Chronicle of ordinary madness “ and “ My friend Hitler “ passed more likely as regards information occasions, than on theatrical art department. The antidemocratic propaganda material of the Cantor was necessary for the director behind the same, what for the play of Jukio Misimy and Charles Bukovski`s prose earlier has attracted: it is an ideal material for provocation. But no more that.