Played for the 300th time Mademoiselle Nitush". The performance was first presented to the audience on December 30, 2004 and has been triumphant on the stage of this theater since then.

During the 12-year life of "Mademoiselle Nitush" three times updated its cast, the only constant was the inimitable role of the head of the boarding house "Heavenly Swallows". According to the idea of ​​the director and theater director Cyril Krok it was decided to make the 300th performance unique - to gather on one stage all the participants in the production since its premiere in 2004.

photo: Valery Myasnikov

As a result, the audience had a unique chance to see three squads at the same time! In the role of Denise shone -, and. The colonels were almost a platoon -, and. Celesten, aka Floridor, was one in three persons, and. And the brave hussars are all like a selection -, and (actor of the theater of Satire). The directors of the Operetta, and in general preferred to appear in three at once, apparently in order to try to restore a little order in this festive bustle reigning on the stage with their powerful managerial staff.

photo: Valery Myasnikov

Comparing performers is pointless. Each of them put a piece of himself into the character, added his own shades, sated it intonation and colored it timbre. Everyone, without exception, was greeted with applause by the audience and after the performance they were showered with flowers. But, of course, the prima of this action is Maria Aronova. The whole frame rests on her charm and improvisation, she sets the pace and rhythm of this production, and without her, of course, it is not possible to imagine Mademoiselle Nitouche.

photo: Valery Myasnikov

I would like to wish you a long and happy life performance and once again congratulate all the Vakhtangovites on the well-deserved award of the Teatral magazine award for the most commercially successful staging- "Mademoiselle Nitouche", which, despite 12 years of solid theatrical experience, continues to collect full houses and attract the attention of the public. Keep it up!

photo: Valery Myasnikov

The performance of Mademoiselle Nitush will give the capital audience new meeting with the famous classical history. It tells about how the monastery choirmaster secretly wrote operettas and dreamed of staging them on a professional stage. At the same time, a young pupil of one of the boarding schools strove to become a real famous singer. But will their dreams come true? And what will help a girl not only get on stage, but also find her personal happiness?

It is easy to understand that the popular operetta of the same name by Herve became the basis for this production. The plot of this work is now widely known throughout the world. After all, for more than a century it does not seek to leave the musical scene. In addition, this sparkling and impetuous comic story about dreams and happiness has been used more than once in some other art forms. For example, she received a wonderful embodiment in the cinema. And metropolitan viewers can easily order tickets for the performance of Mademoiselle Nitush. Since ancient times, on this legendary stage, there has been good tradition comedy musical productions. Such works here enjoyed stable success with the audience almost always. And this vaudeville story has become a wonderful successor to this tradition. This is not surprising, since even today it has not lost its meaning at all. After all, every person always wants to love and be loved, and so that all his dreams come true.

The premiere of this musical performance took place in Moscow in 2004. Its author was the famous director Vladimir Ivanov. The main difference of the production was that a real professional orchestra takes part in it. And all the actors participating in it not only dance beautifully, but also sing great live. That is why she has long fallen in love with the Moscow audience and became the owner of prestigious awards and prizes.

The Vakhtangov Theater invites you to the musical performance "Mademoiselle Nitouche" staged by director Vladimir Ivanov. The premiere of the comedy based on the operetta by Florimond Herve took place on December 30, 2004. Since then, the performance has been performed on the stage of the theater more than 300 times and has always been a success with the audience.

Sparkling vaudeville, sometimes balancing on the verge of farce, has the charm and grace that are inherent in all traditional Vakhtangov productions. Almost four hours of stage time fly by, thanks to the alternation of musical and dance numbers with playful dialogue-improvisations.

About the play "Mademoiselle Nitush"

The plot of the French operetta of 1883 is familiar to the mass audience from the film musical by Leonid Kvinikhidze "Heavenly Swallows".

The action takes place in the provincial France XIX century. At the center of history lies classic fairy tale about Cinderella. In the role of Cinderella - a young pupil of the monastery boarding school - Denise de Flavigny, who dreams of becoming an actress. By chance, she reveals the secret of a devout and strict music teacher - Celestin. Outside the monastery, the young man turns out to be a cheerful rake, the author of frivolous operettas for his beloved, the spoiled operetta prima Corinne.

One evening, at the request of Denise's parents, Celestin is forced to take her to town with him. He leaves the girl in the hotel, and he goes to the premiere of his new operetta. Curious Denise secretly follows the teacher and finds herself in the theater, where a happy ending takes place. The prima donna Corinne makes a scandal and refuses to perform. Taking this opportunity, Denise enters the stage under the pseudonym "Mademoiselle Nitouche" and captivates the audience with her singing. After a series of amusing ups and downs, all the heroes find personal happiness, and the organist Celestin enjoys the success of his creation.

Cast members

The 2019 production of Mademoiselle Nitouche features a stellar cast. The charismatic Maria Aronova shines in the role of a mentor of the boarding school. The role of Celestine is played by Alexander Oleshko. Nonna Grishaeva, Pavel Lyubimtsev, Valery Ushakov also take part in the performance. Musical director Tatyana Agayeva. Costume designer Svetlana Sinitsyna. Stage design - Boris Valuev.

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"Mademoiselle Nitush" at the Vakhtangov Theater is a brilliant actor play, magnificent scenery, and sparkling humor. A bright comedy extravaganza infects with a playful mood, making the whole audience laugh.

« Mademoiselle Nitush" - bright, comedy performance which makes the audience explode with laughter. On the stage, the director of the theater, the head of the boarding house, Floridoro, the colonel, Champlatro. All of them pursue their own goals and strive to achieve them. At the same time, everyone finds their own happiness. Someone puts real performance someone gets resplendent leading role. But various adventures, replete with numerous comedic situations, each character has to go through. Actors keep pushing, hiding under the tables, do not notice each other even at close range.

The production of "Mademoiselle Nitush" is easy to perceive, which is so popular with the modern audience. In some ways, the performance resembles a musical, where music plays all the time, and only in musical breaks replicas are heard. The characters constantly sing, play pranks on stage, do incredible things that make the audience smile. The performance by Vladimir Ivanov became successful not only thanks to an interesting intricate plot, but also due to a bright and unpredictable game. famous actors the Vakhtangov theatre. And for everyone who wants to spend their leisure time interestingly, we offer to buy tickets for this setting.

The play "Mademoiselle Nitush" will again be held at the Theater. Evg. Vakhtangov.

"Mademoiselle Nitush" continues the tradition of the Vakhtangov musical performances: "Straw Hat", "Ladies and Hussars", "Old Russian Vaudeville", in which the Vakhtangov school with its special charm, where elegance and grace coexist with witty joke, charming vocals, mischievous dance, creates a special Vakhtangov style of playing - light, ironic, contagious.

In the play staged by Vladimir Ivanov, a live orchestra and lively voices sound, and its characters, having gone through all the ups and downs of vaudeville intrigues, finally find their own happiness: the choirmaster of the monastery boarding house enjoys staging his operetta on the stage of the Dijon theater, the pupil of the boarding house, who dreamed of theater, becomes a singer and finds his personal happiness in the person of the brilliant dragoon lieutenant Champlatro.

Do not miss the opportunity to see the play "Mademoiselle Nitouche", which will touch the hearts and endow every spectator with its sparkling humor!

Izvestia, January 11, 2005

Marina Davydova

Mademoiselles don't grieve

At the Theatre. Vakhtangov staged the charming operetta "Mademoiselle Nitouche" by Florimond Herve. Another suffering of the famous Moscow team in the field of the light genre in Once again proved that the easy genre is a very difficult thing.

"Mademoiselle Nitush" - like a delicate cream cake. One awkward movement - and his fragile grace is destroyed. Squeeze a little - and the roses will turn into a mess. In the new production of the famous operetta from roses, the mighty efforts of the Vakhtangov left a bold place. "Nitush" goes on for a good four hours, and during these good (but rather bad) hours you ask yourself: am I at the theater or where? Vladimir Ivanov, a prolific director and, more importantly, a teacher at the Shchukin School, produced many different performances on the Vakhtangov stage, and they always had a certain quality factor. The skeptic will say: boring quality factor. Let it be boring. But still good quality, or - so even more precisely - good quality. "Mademoiselle Nitouche" is a malignant spectacle. It is made according to the same patterns, according to which we are now generally sharpened to make performances, obviously confusing Theatre of Drama with a television spread-raspberry, where pop stars lead round dances "around laughter."

Since Vladimir Ivanov is clearly inexperienced in the production of Spread Raspberry, he tries his best. So a decent woman who, by the will of circumstances, finds herself in a brothel and does not understand the rules of behavior in it, just in case, behaves even more cheekily than experienced residents of the institution. The actresses in his performance are desperately wagging their backs, the actors are laughing with a horse's laugh, both of them bulge their eyes and, almost something wrong, scream loudly. They firmly grasped that funny jokes may be vulgar, but they did not take into account that vulgar ones are not funny, and when they are not funny, their vulgarity is unbearable. The scenographic entourage of the performance (many blue flowers on a pink background) fully corresponds to its brothel aesthetics.

It must be said right away that in the Vakhtangov Theater there is one actress who has such armor-piercing comic energy that she is always good - both when she jokes vulgarly, and when she doesn’t joke at all, but simply stands on the stage. This is Maria Aronova. Her toothy, bespectacled, whispering, expansive and touching head of the boarding house "Heavenly Swallows" will make even the most hard-hearted Zoil lie under a chair. But Aronova has a completely unique comic gift, and she doesn't count. Everyone else is either vulgar and not funny, or just not funny. And the talented Vladimir Simonov, who obviously violates his acting nature in this performance, turns out so badly that you want to sincerely feel sorry for him. His Colonel Gibus recalls the Skalozub played in the provincial theater artist who failed to retire on time.

But the most surprising and not subject to any explanation at all is that in Herve's operetta there is almost no music of Herve himself (but the music of unidentified French composers sounds with might and main), although it is clear to any sane person that it is she who is the most valuable in adopted by the Theater Vakhtangov to stage the work. The next step along this path would be, say, the production of La Traviata, in which almost no Verdi music sounds, but the libretto is conscientiously preserved. However, in Vakhtangov's "Nitush" the libretto is also not preserved. Not satisfied with the castration of the music, the creators of the performance hurried to rewrite the text, which, of course, is not as pitiful as Herve's music, but also pitiful. He - for all his unpretentiousness - is still better than pop jokes about a certain maestro sitting in the eighth row, interspersed with jokes for a skit in the Actor's House. "I am a swallow," Deniz (Nonna Grishaeva), a pupil of the Heavenly Swallows monastery boarding school, exclaims. And then he adds: "No, not that. I'm an actress." The absurdity and inappropriateness of this witticism also lies in the fact that the viewer, if he is so educated as to recognize in the words of Denise a reminiscence from Chekhov's "The Seagull", is unlikely to want to watch this somehow sung and how a comedy played in which such Mademoiselles and Monsieurs are such that our Verka Serduchka, if not for her exceptional employment, might well have taught them a lesson in good manners.

Kommersant, January 14, 2005

Sixty year old mademoiselle

Vakhtangov reanimated the old operetta

The Vakhtangov Theater made its own a gift to the audience, restoring the old French operetta by Herve "Mademoiselle Nitouche" in the repertoire. MARINA SHIMADINA has not seen such a full house at the Vakhtangov for a long time.

IN last years the affairs of the Vakhtangov Theater are not in the best way. The huge gray colossus of this house-ship seemed to get lost in the middle of the brisk trading Arbat river. His captain, having lost a clear Soviet direction, is at a loss and does not know where to rule in the stormy sea of ​​the free theatrical market. Already they tried "back to the classics", and "full speed ahead" towards young directors, but all to no avail. It turns out either exemplary boredom, or meaningless fuss. In such cases, artistic directors, like a lifeline, grab onto the glorious past of their theaters and extract from non-existence some dusty rarity that was wildly successful some twenty years ago, when today's spectators still walked under the table and, perhaps, only heard from their parents about the magnificent production of director X and the amazing performance of actress N.

So did Mikhail Ulyanov. He chose Herve's musical comedy "Mademoiselle Nitouche" for resuscitation, which premiered in Vakhtangov theater exactly 60 years ago, in 1944. In that historical production of Ruben Simonov, Galina Pashkova and Lyudmila Tselikovskaya played. But this operetta is more familiar to modern viewers from the French film of the same name with Louis de Funes and the Soviet TV movie Heavenly Swallows with Andrei Mironov and Lyudmila Gurchenko. For those who have not seen either the first or the second, I will briefly explain that we are talking O classic plot French sitcom. A pupil of the boarding school for noble maidens Denise dreams of the theater and secretly from the strict boss enters the local variety show for the premiere of an operetta written by a monastery singing teacher. There, of course, she finds her love and makes her debut on stage, replacing the prima donna who kicked up on the basis of jealousy. As a result - universal happiness and three weddings in the final.

The fact that the bet was made correctly could be judged even before the premiere, timed to coincide with the New Year holidays: tickets were sold out for several performances in advance. Distrustful of the newfangled genre of the musical, the audience yearned for the good old operetta and, having heard the familiar name, went to the box office by storm. For a long time I have not seen such a full, happy and grateful hall in the Vakhtangov Theater. To fail with such an audience, the actors and the director had to try very hard. And they tried their best to please.

First of all, director Vladimir Ivanov threw out of the play most Hervé's "non-winning", according to him, musical numbers and replaced them with the popular French chanson. Then he had an operation to turn a light and airy situation comedy into a fat farce. So that the public, God forbid, does not get bored. The usual operetta variegation and fuss - all this tinsel, brilliance and, as one wit put it, "bat nonsense and dog mouse" - were multiplied by satire and humor of a domestic spill. There were all-around gags like kicks in the ass, and skits exactly from the club of the cheerful and resourceful, and modern jokes about the control shot, the night watch and the maestro in the eighth row. At the same time, some characters turned into outright caricatures.

Most of all went to the brother of the abbess of the boarding house, Colonel Alfred Château Gibus. They put in hare front teeth, dressed him in the most ridiculous red wig and invented a burry accent and a tricky cavalry gait. To recognize in this awkward guise of one of best actors the Vakhtangov troupe - Vladimir Simonov - was both difficult and awkward at the same time. His sister, played by Maria Aronova, was more fortunate. This amazing actress manages to be organic and at the same time funny in any guise, even with the same bunny teeth. Scenes with her participation were accompanied by hysterical laughter and ended with a standing ovation. The young heroes Deniz-Nonna Grishaeva and Celesten-Alexander Oleshko from Sovremennik were sweet and charming, they sang well and danced well, which cannot be said about the voiceless prima donna Corinne performed by Lydia Velezheva.

To the credit of the dramatic artists, they sang without a phonogram, to a live orchestra, and thanks to small microphones, their weak voices were perfectly audible even on back rows balcony. But, unfortunately, there were not so many musical fragments, on which the hall was noticeably animated, in the performance, and most of the time one had to listen to not always witty dialogues, which in an operetta usually serve only as links between numbers. In addition, for a musical comedy, which so suits lightness and swiftness, the performance turned out to be too detailed, viscous and heavy. It goes on for almost four hours with two intermissions - it slows down on confessional monologues, stalls on plot repetitions and stumbles on scenes from the life of the theatrical backstage that are not very essential for the plot, but dear to any director. And only having taxied to the finish line, he finally picks up speed and strength, so that by the end the hall begins to moan with laughter. This means that the Vakhtangov Theater can celebrate the victory and shout "Eureka! The formula for success has been found." After all, they didn’t try for critics, in fact.

NG, January 13, 2005

Grigory Zaslavsky

call of the ancestors

The Vakhtangov Theater and the Theater of Satire - in disputes with legends about themselves

I would like to cite the announcement of the upcoming premiere, created within the walls of the Vakhtangov Theatre, in its entirety - as an example of an ordinary discrepancy between the desired and the actual, which has been described more than once in psychological practices. So: “Mademoiselle Nitush” is “light, graceful, sparkling musical comedy Hervé with a live orchestra and live voices directed by Vladimir Ivanov. All the heroes sing and dance: Celestin - Alexander Oleshko, and Deniz - Nonna Grishaeva, and even the head of the boarding school - Maria Aronova and the gallant colonel Alfred Chateau Zhibus - Vladimir Simonov. And bright colorful scenery and costumes of heroes enhance the mood of the holiday, vaudeville. "Mademoiselle Nitush" is being staged at the Vakhtangov Theater for the second time. The play first appeared in December 1944 directed by Ruben Simonov. Galina Pashkova, Lyudmila Tselikovskaya, Anatoly Goryunov were engaged in the performance. "Mademoiselle Nitush" war years was a huge success, and the performance remained in the repertoire for many years. Exactly sixty years later, the production reappeared on the stage of the Vakhtangov Theatre. Now this is a different "Mademoiselle Nitouche" with different faces and a different interpretation. But that poetry and cheerfulness of the performance, of course, has not been lost.

Of course it's lost. In the current "Mademoiselle Nitouche" there is almost no place for poetry, and most importantly - it is impossible to understand that the creators of the play were striving for it. As for cheerfulness, but, probably, endless and unrestrained comedy is passed off as it (one feels like, following the pre-revolutionary reviewers, to write: Ms. Aronova was, as always, good, for which she was repeatedly rewarded with applause from a benevolent public). As if the director had one goal: no, you will laugh, no matter what it costs me! And he gets his way.

Sad as it may seem, after the current "Mademoiselle Nitouche" I want to talk more not about the performance, but, for example, to return to the topic of theatrical reform, in anticipation of which last autumn passed. It would seem: thunder struck, a feeling came real danger. What should and can a living organism do? Gather all your strength to shout: I'm still alive! Still alive! To show what he is capable of, to make it clear that he is one of a kind - the one and only.

On the contrary, in order to justify the worst forecasts and the most ruthless assessments of their current state, our academies seem to have agreed and began to produce performances of the most, so to speak, entreprise quality, where, as they say, who is in the woods, who is for firewood, and humor is lower and lower. , lower and lower…

Recent premiere in Satire under speaking name“We are still funny”, dedicated and timed to coincide with the 80th anniversary of the theater, is perhaps the most a prime example such an unsanitary state of the state, repertory, and, moreover, also the academic theater.

The best thing in this anniversary review is the appearances of the “old men”, Spartak Mishulin and Vera Vasilyeva, who, with their high manners, not lost ease and skill, mark the difference between the beautiful past and the vulgar present of Satire.

Jokes about oral sex, verses on roughly the same topics, among which - the very first and, perhaps, the most successful - about theater critics: “I'm tired of being an artist, it's better to go into criticism! You've been shitty before, so have a good trip!" It is difficult for me to appreciate the humor in its entirety - after all, I look at the situation from the inside, but - have all other issues in the country already been resolved? With benefits at the bottom, with everything else at the top, so the theater critics became the only concern for satire? Or are these the problems of a specific Satire and a specific Alexander Anatolyevich Shirvindt, who is satisfied with the authorities in everything, and the problems that concern ordinary people do not concern? Well, what about artistic worries - as if there weren’t, and aren’t there?

I would like to joke in the spirit of the creators of the anniversary review: maybe strengthen where today it is clearly weakening?

After such "... Ridiculous" one cannot do without a reform, perhaps a general strengthening one, perhaps a private one.

"Mademoiselle Nitush" for obvious reasons is devoid of many of the above shortcomings. But optionality lurks here at every turn.

Why, for example, was it necessary to call from Sovremennik Alexandra Oleshko who plays "Mademoiselle Nitouche" Celestin and choirmaster Floridor? He, of course, is plastic, mobile, and melodious, but to suspect in his hero a passionate lover, about whom the entire female cast and Corinne herself, the prima donna, are dreaming ( Lydia Velezheva), which is seriously jealous, is really difficult.

One can imagine that the wonderful teacher of the Vakhtangov school Vladimir Ivanov I decided to gather as many of my students as possible in one performance. Here and Grishaev, and Aronov ... So Oleshko was called. But is this justification for a performance in a repertory theater?!

Why bring a whole choir of dragoons onto the stage if the soldiers, who are also students of the Shchukin school, cannot stretch out their arms and put their feet in the same way? Even in girls movements, depicting either choir nuns, those same heavenly swallows, or daring operetta artists - more discipline and uniformity.

Why - such an unimaginable heap of objects and colors (artist - Boris Valuev, costumes - Svetlana Sinitsina), if the goal of the performance is poetic lightness and grace? Against this background, jokes, conceived, perhaps, as light and elegant, become heavier and mature, so that the two “hare” teeth of the brother and sister Chateau Gibus (Vladimir Simonov and Maria Aronova) that look forward soon become boring and already an eyesore.

Yes, everyone or almost everyone sings and dances, but it turns out well, perhaps, for two, whose singing and dancing - as they say, in a line, on business (that's why they are good). These are Nonna Grishaeva and Anatoly Menshchikov, despite the fact that Grishaeva has the title role, and Menshchikov plays the dragoon non-commissioned officer Lorio, who seems to be hopelessly waiting for his beloved, as it eventually turns out - the impregnable head of the Heavenly Swallows monastery boarding school. There are no voids in Menshchikov's game, his monologue turns into a real vaudeville exit, almost - circus attraction, where any thing, as if accidentally falling under the arm, becomes a necessary detail of the melodramatic story of his unhappy love. How touchingly shy is Deniz (Nonna Grishaeva), a pupil of the boarding school, how graceful and crafty she really is, that one really wants to call her a fox, how she sings - sincerely and skillfully! It’s even a pity that the performance ended up being released not “for her” and not only “about her”.

The two of them are perhaps the only justification for the undertaking, but their efforts are still not enough to enjoy the premiere and, drawing a line, draw a positive result.

Culture, January 13, 2005

Natalia Kaminskaya

Tired of the easy genre

"Mademoiselle Nitush". Theatre. Evg. Vakhtangov

"F. Hervé's operetta received its new birth from the Vakhtangovites," we read in the theatre's album a text dedicated to the 1944 premiere. The play by Ruben Simonov, staged at the end of the war, became after "Princess Turandot" another emblem of the Vakhtangov Theatre. Therefore, the current premiere, which was the second, after 1944, the birth of the operetta "Mademoiselle Nitush" on this stage, can be regarded as a landmark. It would be foolish to expect, however, from her the same dazzling effect that Simonov's cheerful production had on the audience of the harsh war years.

And yet, the operetta at the Vakhtangov Theater is still the subject of special expectations. People sing and dance everywhere now, but here, according to a special school, they should do it better.

Looking ahead, I will say that this part of the production does not drop Vakhtangov's honor. As well as the soloists: Deniz - N. Grishaeva, the head of the boarding house - M. Aronova, the colonel - V. Simonov, Floridor - A. Oleshko and Shamplatro - A. Zavyalov - so the choir with the corps de ballet (choreography by O. Glushkov) sing and move excellent. The exception is P. Lyubimtsev in the role of the theater director, who, with his, to put it mildly, modest vocals, was entrusted with the reworked aria of Don Basilio from G. Rossini's opera "The Barber of Seville". Ask, what does "Slander" and Rossini have to do with it? So I think: why are they here? There was a French operetta composer XIX century F. Herve, which in the middle of the twentieth century was staged at the Vakhtangov Theater by Ruben Simonov. Connoisseurs of this classic, albeit light, genre need not explain that musical dramaturgy here it is no less important than the plot and dialogues. However, the director of the current performance, Vladimir Ivanov, practically did not need F. Herve's music. But he also did not invite another composer (as was done in the television version called "Heavenly Swallows"). Taken from a pine forest, something French, cafe-chantane-opera, the names of the writers are not even spelled out in the program. Except for Rossini, of course, who is inserted in a completely cabbage-like manner, to the misfortune of the performer, to whom this test is clearly not in tune and hearing. But the dialogues, albeit with a small number of replicas on the topic of the day, are preserved in all their operetta stupidity. It is as if not the text is being played, serving as just frivolous inserts between bright musical numbers, but the comedy pearls of Lope de Vega or Calderon. As a result, the "feast for the viewer" lasts almost four hours with two intermissions. At the same time, of course, Ogurtsov from Carnival Night comes to mind, who intended to make a New Year's report "shortly, for forty minutes." It is, of course, impossible not to make the four-hour operetta monotonous. Since a pure genre is played (namely, this, in principle, a very commendable attempt was made by the director), it means that the entire gentleman's set of vaudeville stamps is needed. It is necessary to portray a type, to get into a mess, to demonstrate affectation, innocence or physical imperfection. Fall on level ground. Hide under tables or curtains. Change gaits. Fainting, etc. and so on. To my credit Vakhtangov artists, they know the tricks of the easy (actually very difficult) genre well. But stamps cannot be enough for four hours with two intermissions. No one - not even the brilliant M. Aronova, who has at least thirty of them. V. Simonov is much more difficult - he has only six of them. And although the artist, who became familiar to us in the roles of respectable husbands or suffering businessmen, turned out to be a very musical and mischievous comedian, walking with a protruding sirloin, dragging his leg and wheezing in a martinet voice - it’s impossible to infinity! As well as talented N. Grishaeva - to portray femininity and cunning until blue in the face, and handsome A. Zavyalov - chivalrous love.

The audience at first laughs and claps. But at the beginning of the eleventh, when, in accordance with the laws of nature, the night covers not only the Arbat, but also Bibirevo and Yuzhnoe Butovo, where other theatergoers can scarcely think at what time they will get, there is a disturbance harmful to the genre in the parterre and tiers. It's a pity. After all, they wanted the best.