A long time ago, the performance of the theater of the Russian army to watch. A long time ago. Army Theatre. Press about the performance. "A long time ago" at the Theater of the Russian Army

I have long dreamed of seeing this production on stage, and on December 5 I succeeded.
"A long time ago" is the "Hussar ballad" familiar to many, or rather a production based on the original play written by Alexander Gladkov in 1940.
Yesterday's girl Alexandra, now the brave cornet Azarov, goes to war. Of course, the youngster is not allowed into a real battle, and the hussars scoff and call him a sissy. It's a shame, it hurts. Shurochka would not be herself if she had not shown everyone that she was worthy of wearing a uniform on a par with men.
I must say that the scenery here is minimal. Huge symbolic decorations as the main background, a minimum of household items. The scenes are separated by a huge white curtain with a uniform pattern embroidered on it. The main action and the atmosphere of 1812 are created by the actors. Looking at them, you do not notice the minimalism of the situation. Because everyone plays well. Each has its own character, its own backstory. If you talk about each one, there will not be enough space.
I will highlight the most memorable.
The role of Shurochka in the production was played by Maria Oamer. She did a great job and was very emotional. I would like to note the voice of the actress, it is ideal for a girl who decides to portray a guy. Not sonorous, quite boyish, it is believed that she was not suspected with such a voice. As for character. Shurochka is full of mischief, spontaneity and at the same time serious and knows how to behave in society. After all, if you remember the age - 17 years, the time of girlish fun, dolls, balls and gradual entry into adulthood. The time when you are no longer a child, and life experience is not enough.
Yes, and the cousins laugh at Shurochka - she pretends to be the second Joan of Arc, and she herself plays with dolls and is afraid of mice.
Farewell to the house is a separate song. Here is not only Svetlana's Lullaby, but also the throwing of a young girl, fears, pain from parting with her uncle, a moment of weakness when she is ready to turn back and give up a fleeting impulse. And here we have the cornet Azarov, a savvy youth who "will give odds to other old warriors."
The role of Rzhevsky was played by Sergei Fedyushkin. His type is not like the usual lieutenant. However, during the performance, I forgot about it. Sergey played the lieutenant with soul. In each episode with Shurochka, a whole gamut of feelings was displayed on his face. He could hardly endure the company of a coquette, was angry at gossip, raged because of the stubbornness of the cornet.
I liked Davyd Vasiliev performed by Andrey Egorov. He came up with an excellent image of a commander who has bad subordinates - they either get drunk or arrange duels. No matter how he meets the cornet Azarov, he again prevents the duel. What is it for him? :)
Vitaly Stremovsky has a colorful Kutuzov. A tired old man, a field marshal, a man accustomed to living according to certain laws, but who managed to deviate from them when necessary. How hilariously he tried to see a girl in the cornet and at the same time not seem crazy to his subordinate.
The performance was watched in one breath, and the songs familiar from childhood were very pleasant to hear again.

Characters

Azarov- Retired Major.

Shura- his niece.

Rzhevsky Dmitry- hussar lieutenant.

Ivan- valet, former batman of the major.

Nurin- Count.

Vasiliev Davyd- Hussar Colonel.

Pelymov

Voronets

Velyaminov

Gorich

Ershov

Stankevich

Rtishchev

Khilkov- hussars, lancers, dragoons, Cossacks - officers of the partisan detachment of Davyd Vasiliev.

Cheremisov

Neplyuev- corps staff officers.

Kutuzov- field marshal.

Balmashov- adjutant general.

Governor

Zizi

Nadine

Natalie

Pauline

Mimi- cousins of Shura Azarova

Germont Louise- French actress.

Salgari Vincento- lieutenant.

Ducière- general.

Lepelletier

Armagnac- officers of the headquarters of the Ducière brigade.

Guests at the ball, servants in the house of Major Azarov, partisans, officers of the corps headquarters, officers of Kutuzov's retinue.

The action takes place in 1812.

Living room in the house of retired major Azarov. Old-fashioned for 1812 furnishings. On the walls are large portraits of Catherine II and Suvorov. Several windows and three doors. In the evening there should be a ball in the house in honor of the birthday of Major Shura's niece and ward. Numerous Shurochka's cousins had come here the day before. Now they are trying on masquerade costumes for the ball. Cheerful revival. Ribbons, shawls, mantillas flash in the air. Mimi and Natalie turn around at the mirror. Polina strums on the harpsichord. Nadine and Zizi are in the middle of the room making intricate steps. The day is drawing to a close. There are cheerful spots of the sun in the room.

Zizi

Shepherdess - me!

Nadine

I am Columbine!

But this dress is too long...

Mimi

I'm with that white crinoline

Quite the marquise on the panel.

Pauline

Look, Zizi, I'm Pierrette.

Zizi

It will suit you terribly...

Natalie

And I'll dress up in a kokoshnik ...

Like this...

Mimi

Venus a la Russe!..

Nadine

Say I haven't danced in a century!

Zizi

Oh, hurry up this ball! ..

I'm actually tired of waiting...

Mimi

The governor himself promised

Come.

Pauline

That's right, with the adjutant!

Zizi

I propose after the forfeits

Start a game!

Natalie

Se tre bien!

Zizi, tell me, will tren suit me?

Zizi

Where is Shura?

Natalie

after tea

Didn't see her.

Zizi

She secretly masters

Your costume is extraordinary.

Nadine

No, I saw how she

Went for a walk...

Mimi

Nadine

Yes. That's right, jumped into the field

On horseback. In the Cossack Chekmen...

Mimi

Childhood!

Natalie

confess to me

She likes all this a little ...

Pauline

Think - almost a bride!

Natalie

Sewing and needlework instead

She has a rapier and a saddle...

Pauline

In my opinion, from that everything is evil,

She's an orphan...

Natalie

Well then

This reason is not reasonable

For madness!

Nadine

Here is the ringing

Raised from the empty too!..

I think she's cute.

Nadine

Oh, how we sang nicely with her

(Poet)

Do, re, salt, mi, la!..

Natalie

But still - alone, on horseback ...

Mimi

Even though I don't think it's a sin

Love for walks, but, for example,

I'll say - it's time to have a measure

In children's fun...

Natalie

Se tro bet!

She is now seventeen years old.

Mimi

No, she does not know decency! ..

Natalie

Have you seen how today

Did her uncle give her a necklace?

Tea, a few thousand rubles

This is worth it!

Mimi

Yes, from grandma

It remained her legacy.

They are poor, but this subject

More expensive than all our rags...

Nadine

Yes, sir! She calls rags

Natalie

Girlish worries

Doesn't recognize it!.. Isn't it true, fool?

Pauline

Oh no, our child Shura!..

Nadine

A child - yes, sir! .. Polina, bookly

Are these like this? .. I'll tell you all

What is our Shura in the morning

Plays in the mezzanine with dolls.

I saw it today, getting up early ...

Favorite name is Svetlana,

And sensitively sings with her,

He sighs tenderly, tears pour...

General laughter.

Zizi

Becoming Joan of Arc dreams of a new one.

Mimi

And somehow I saw a mouse, -

I only managed to scream

And faint...

Pauline

Well, if the cow is b,

I understand...

Natalie

All the same!

At least it's weird

Zhanna was hardly afraid of mice.

General laughter.

Zizi

Being brave isn't for everyone...

Natalie

I say she's a girl!

Pauline

But still, at least the Amazon

I would put it on, otherwise it’s a check!

Zizi

Shh!.. Here she is!

Shura runs.

Shura

Ah, what a day!

Are you not stuffy here?

Open windows!

(Opens windows.)

Right, boring

Sorting through rags all day long.

Mimi

Not everyone can jump across the fields!

Shura

There are enough horses for everyone in the stable!

And then you sit, just in cotton wool ...

Let's go to the garden!

Natalie

Mont ange, stop!

Well, sit down for a minute!

Shura

I picked a forget-me-not in the forest.

Who loves this simple flower?

Zizi

Give me...

Shura

Take it... I'm tanned

Tell me, Zizi?

Zizi

It suits you.

Shura

In the spring it was whiter than chalk ...

Mimi

You are more on a horse prancing

So you will be blacker than arapki.

Pauline

How can you go out without a hat!

Natalie

There's no more kidding...

You are now seventeen years old.

Shura

But still not a hundred and seventeen!..

Enough uncle notations, -

Their heads are swollen...

(Sits down at the harpsichord.)

Let's dance better!

Some girls begin to dance.

Zizi

But how, Shurochka, dressed

You will?

Nadine

That's right, shine

Zizi

Keep no secret!

Shura

I don't know... Somehow...

I'm tired of these costumes!..

(Stops playing.)

Ah, if only... That last summer

Cousin was visiting. Uniform ever since

He stayed. in the mezzanine,

In the closet ... Clean out the moth

And dress up! .. However, nonsense!

(Plays again.)

Mimi

It's time to decide.

Shura

I'll be more than successful.

There will be a congress soon.

Culture, October 6, 2005

Natalia Kaminskaya

Only old people go to battle

"A long time ago" at the Theater of the Russian Army

The appearance of the musical comedy by Alexander Gladkov and Tikhon Khrennikov in the anniversary poster of TSATRA (the theater turns 75 years old) is not only logical, but even significant. The performance, which was born on this stage in 1942 and did not leave it for decades, became a kind of banner for TsATRA, battered in battles and therefore even more dear. The current chief director of the theater, Boris Morozov, a student of Andrei Popov, the son of Alexei Dmitrievich Popov, who staged this comedy during the harsh war years, acted like a grateful "grandson". The second date is marked in the program as a dedication to the 60th anniversary of the Victory, and here the theater could not have come up with a better idea. The play is patriotic without any discounts and exaggerations. Pure, transparent, well-written vaudeville reveals in this sense far more opportunities to infect and convince than the current strained search for a national idea.

By the way, the "parade" of performances of our drama theaters for the great date is more reminiscent of scattered sorties of partisan detachments. Thank God, we have forgotten how to trump on the occasion of the next state order, but we also have forgotten how to work at the behest of personal internal duty. Again, it’s not easy with the material: it’s not enough to take good military prose, you still have to have your own, today’s attitude to what was written in a different era, under the harsh conditions of a different ideology.

Meanwhile, to the army theatre, unlike all the others, the theme of defending the Fatherland was both imputed to a direct, "profile" duty, and is still being imputed to this day. Boris Morozov prefers to look for it in the events of long history, more or less separated in time from the changeable ideological moods. He puts on "The Sevastopol March", a play by Natalia Skorokhod based on Leo Tolstoy's "Sevastopol Tales". And the anniversary season opens with the heroic musical comedy of Tikhon Khrennikov, whose melodies, thanks to the "Hussar Ballad" that still does not leave the screen, are unknown only to the deaf. The current performance "A long time ago" is not just a restoration of the legendary production with new performers, but a new stage version.

Indeed, what Tikhon Khrennikov composed is difficult to spoil. The overture is just beginning, and the desired light bliss is right there: you want to clap and sing along. And then - the first disappointment: instead of a live orchestra - a phonogram. Glamorous and breathless, it fills the monster hall with the deafening power of decibels, and is already obviously scary for the vocal chords of the artists.

Well, it is - the microphones hidden in the folds of the actors' costumes help out only those, frankly, the few who have what these microphones are designed to amplify, namely, the voice. Looking ahead, I will say that only young Tatyana Morozova - Shura Azarova, Andrey Egorov - Davyd Vasilyev and Vladimir Mikhailovich Zeldin, who plays Kutuzov, sing "regardless of" only. The rest fall into notes. I ask people of the older generation: what about Larisa Golubkina, who sang Shura on this stage in the pre-microphone era and accompanied by a live orchestra, was she heard? However, I already know the answer.

With phonograms in general, jokes are bad. Balance with live voices is just one of many problems. There is also an arrangement (Ruben Zatikyan). Everything seems to be correct, but the feeling is as if instead of a landscape painted in oils, you were offered a large-format glossy shot. Or, if you like, they took fresh vegetables, froze them, then put them in the microwave and quickly threw them into the pan. The taste, as Arkady Raikin used to say, is specific.

Masterpiece arias like Louise Germont's song "I drink, everything is not enough for me ..." or the "French" hit "Once upon a time there was Henri the Fourth ..." are supported from all sides by auxiliary means. The voices are weak, which means that in the first case it remains to take cutesy poses and sigh languidly, and in the second - to sing the three of us, merging with difficulty in the cheerful refrain "lena-lena-boom-boom ...".

For the first time you think about what a luxurious range of the actress-singer Tikhon Khrennikov counted on when composing the famous lullaby "Moonglade ...". Tatyana Morozova takes the top short, without cantilena. In general, lyrical scenes in a female guise work out worse for her. But she plays the cornet contagiously, temperamentally, sometimes even over the edge. Alas, neither lieutenant Rzhevsky - Vyacheslav Razbegaev, nor most of the hussar brothers radiate the main vaudeville property - charm.

One feels like complaining about the ill-fated gigantic dimensions of the big TSATRA stage, where one can reach the audience's eyes, ears, and even more so the hearts only with an appropriate forced attack. However, witnesses to the previous edition of the comedy, which, by the way, were on the same immense stage, note transparency and easy breathing. In addition, as soon as Zeldin appears on the stage, playing Kutuzov not at Borodino field, but on the contrary, in his apartment, where the field marshal in his years unsuccessfully tries to relax, vaudeville lightness, confidential intonation, and watercolor irony arise.

What is the use of repeating for the hundredth time: it is more difficult to play vaudeville than a psychological drama, and even more so an epic canvas. That between an average idea of how to "represent" in a sitcom, and the real possession of this airy, elegant technique - the distance is more than the parameters of the stage of the Theater of the Russian Army.

Yes, and with the hussars now tense. They, dear to the Russian heart, are not only mentiki, shakos and aiguillettes, very colorfully played in the scenery of Vladimir Arefiev and the costumes of Alena Sidorina. And not a mustache with sideburns. And, damn it, the personal charm of their carriers.

The audience gave four standing ovations at the premiere. Two went to Vladimir Zeldin - at the first exit and at the end, when the artist's 60-year stay on the CATRA stage was announced. Two - to Tikhon Khrennikov, who was sitting in the stalls: before the curtain went up and after it closed.

By and large, the "only news" of the new "A long time ago" remained the talents of the composer and artist. The audience continued to sing Khrennikov's motives for a long time, spreading along Victory Square towards trolleybuses and the metro.

Kommersant, October 14, 2005

Hussar gruel

"A long time ago" at the Theater of the Russian Army

The Theater of the Russian Army returned to its repertoire the musical comedy by Alexander Gladkov to the music of Tikhon Khrennikov "A long time ago", better known to the audience from Eldar Ryazanov's film "The Hussar Ballad". MARINA SHIMADINA plunged into the historical excursion.

On the occasion of the 60th anniversary of the Victory and the 75th anniversary of the Theater of the Russian Army, the director resumed the legendary performance "A long time ago" on its stage. The musical comedy by Alexander Gladkov and Tikhon Khrennikov was staged at the then Red Army Theater in 1942. And this light, mischievous thing, almost a vaudeville, dedicated to the events of the war of 1812, during the years of the Great Patriotic War looked like an incredibly patriotic, uplifting and acutely topical thing. One can imagine how in 1942 the words of Shurochka Azarova, who dreamed of giving her life for her homeland, were echoed in the hall, or how the exit of Kutuzov, confident in the victory of the Russian army, was perceived. Today, the story of a cornet girl is hardly capable of uniting the hall in a patriotic impulse. And this, most likely, was not what the director was striving for when restoring the old comedy. His "A long time ago" is not so much about military battles and the glory of Russian weapons, although this is what the Theater of the Russian Army is supposed to take care of by status, but about the old, naive and ingenuous Soviet theater.

As soon as the red velvet curtain opens, which in itself is a wild theatrical vestige in modern times, the audience gasps. Such superbly naive scenography as Vladimir Arefiev's, with rifles and sabers crossed over the stage, huge symbolic shakos, aiguillettes and empty front doors, you will probably not find in any Moscow theater. As well as such a crystal old-fashioned production. The director did not introduce into this 60-year-old comedy a single modern catchphrase or any kind of joke, not a single today's color that would somehow indicate the distance between the time the play was created and our days. No, Boris Morozov is not trying to find some new angle in looking at the play, he seems to trust the past more than the present, and stage the play with the symbolic name "A long time ago" in the way that it theoretically could have been staged in those legendary time.

Of course, today few people remember exactly how that famous production by Alexei Popov, which lasted in the theater's repertoire for several decades, looked like. But everyone has seen the film "Hussar Ballad" with Larisa Golubkina and Yuri Yakovlev, based on the same play. And no matter how much Svetlana's lullaby and verses about King Henry the Fourth are sung to us from the screen, this light, funny and unpretentious tape never gets bored. The performance of the Theater of the Russian Army, unfortunately, is devoid of the charm of the film. Even those who have never seen the original will easily understand that this is not a careful restoration, but a rather crude stylization. And it's not that the director didn't try, it's just that modern actors by their nature are not able to repeat the drawing of the role of sixty years ago. They try to portray vaudeville lightness and ease, but the result is a rather rough and flat farce. And their sweeping, conditionally elevated manner of playing with exaggerated, deliberate gestures and feigned emotions resembles children's Christmas trees. The only one who manages to revive her role and give it volume is Tatyana Morozova, who plays the main character. Although the weak voice brings the actress into Svetlana's lullaby, the audience is clearly pleased with her instant reincarnations from a cutesy lady to a dashing cornet and back, she is amused by her cunning, sly game with lieutenant Rzhevsky and is touched by sincere ardor in a conversation with Kutuzov. However, the standing ovation of the hall still goes to only one field marshal performed by Vladimir Zeldin. And although the illustrious artist in his only scene does not demonstrate any special acting miracles, he simply plays an old, tired, but still fit commander who wants to quickly get rid of the stubborn girl and relax before the parade, in his face the audience applauds that old theater, which even if for one evening today no one can do it.