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About the performance

Moscow will again have to go through one crazy day, in which there will be weddings, courts, scandals and reconciliations. The play "The Marriage of Figaro" at the Theater. Pushkin is a sparkling comedy that has been collecting full houses for more than a year.
Age limit - 16+.
. Author - P.-O. Caron Beaumarchais;
. director - Evgeny Pisarev.
Roles are played
. A. Arsentiev;
. V. Isakov;
. S. Lazarev;
. T. Vilkova;
. I. Byakova and others.
The premiere took place in April 2014.

Crazy day
And in the castle of Count Almaviva, there is still no rest for either the servants, or the owners, or the guests. The day is just beginning, but it is already clear that you definitely cannot call it ordinary. Figaro - a resourceful young man, an adviser to the count and his house manager - decided to marry the beautiful Susanna. It seemed that happiness was within reach, but insidious rivals stood in the way of the young. The old debt was remembered by the main character Marceline, and now she is forcing her to marry her, and the count himself lays claim to Susanna's heart... The intrigue gets tangled, and it becomes more and more difficult to sort out this hilariously funny collection of misunderstandings. Hurry up to buy tickets for the play "The Marriage of Figaro" in Moscow and find out how this classic story ended.

Old story in new scenery
The generosity of the creators of the production seems to know no bounds! The costumes are amazing, the surroundings are amazing, the scenery is monumental. Made in pastel colors, they become the perfect backdrop for a bright and colorful carnival of passions that takes all the characters in a whirlwind and circles, not letting go, until the last minute. An absolutely canonical plot unfolds before the audience, in the implementation of which the direction did without fashionable methods of modernizing. On the stage - really Spain of the 18th century, but without the dust of outdated classics. Freshness, youth, expression - today's Figaro is full of life and definitely does not smell of mothballs.

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Additional Information

Duration - 2 hours 50 minutes (with intermission).
The booking period for the performance is 2 hours.

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Theater address: Mayakovskaya metro station, Moscow, Tverskoy Boulevard, 23

• Mayakovskaya
• Tverskaya
• Chekhovskaya
• Pushkinskaya

Pushkin Theater

History of the Pushkin Theater

The Pushkin Drama Theater traces its history back to the drama theater of the famous director of the era Alexander Tairov, opened in 1914. Therefore, it is considered one of the oldest Moscow theater venues. The building on Tverskoy Boulevard, in which it is located, is an even later building. The first mention of it refers to the reign of Catherine the Great. Its first owner was Prince Vyazemsky. Since that time, during the 19th century, it often passed from one owner to another, it was rebuilt and repaired several times, until the Chamber Theater appeared here at the beginning of the 20th century.

The Alexander Tairov Theater existed until 1949, when it was disbanded for aestheticism and formalism. Its place was taken by the Pushkin Drama Theatre, which is currently one of the best theater venues in the capital. It is completely restored in the interiors of the 19th century and richly decorated.

This venue plays mainly performances based on plays by foreign playwrights of the 20th century, such as The Mousetrap, The Talents and the Dead, Happy Days and The Good Man from Sezuan, but the repertoire also includes Russian classics and modern masters of drama.

How to get to the Pushkin Theater
The building of the Pushkin Theater is located on Tverskoy Boulevard. It is not difficult to find it, but first you need to get either to the Tverskaya metro station or to Pushkinskaya. Leaving the metro, you will find yourself at the beginning of Tverskoy Boulevard, where it intersects with Tverskaya Street. Go to the right side of the boulevard. You can walk to the building of the Pushkin Drama Theater in just five minutes.

Photography is the official community of VKontakte.

Anna Evgenievna has about thirty films on her account, of which there are quite a few main roles - Vika in the drama "Cruelty", Dasha and Yulia in the psychological detective story "Voices", Asya in "The Heiress", Lena in the melodrama "In the Hour of Trouble", etc.

His first works on this stage were Shpekin from the play "The Government Inspector" and Fistakh in "Testosterone". Now the artist's fans can see him in many repertoire productions - "The Scarlet Flower", where he plays Anton, - Amalia Balike, - Robin, - Ted Bundy, - Claude Riviera, Ivan in "Three Ivans", etc.

In cinema, the debut work was an episode in the Russian-Ukrainian project “Kill me! Please, filmed in 2004. Later he played Sasha in the melodrama "Happiness by Prescription", an episode in one of the episodes of the series "Law and Order", Sasha in the same series, Dyusha in "The Wedding Ring", Oleg Isaevich in "Daddy's Daughters", Kostya in "Ranetki" , Seva in the series "Katina Love".

In the cinema, Alexander Arsentiev played more than sixty characters, including the main characters - Andrei in the melodrama "Under the Sky of Verona", Igor in the "League of Deceived Wives", Yakov in the military drama "Heavy Sand", Maxim in the melodrama "I will give myself a miracle" , Chulimova in "Yurochka" and others.

The artist immediately showed his talent and played more than two dozen roles on this stage. This is Gavrilo in "Dowry", Puss in Boots from the fairy tale of the same name, Charles Bovary from the play "Madame Bovary", Aubin from "Ladies' Tailor", Mario from "Nights of Cabiria", Tybalt from "Romeo and Juliet", Bobchinsky and Derzhimorda from " Inspector", Bishop from "Jeanne d'Arc", etc.

Now fans of Alexander Valerievich can see him in such performances as where he plays Friedrich, "Hedda Gabler" - the role of Eilert, - Metcalf, "Treasure Island" - Billy Bones, "O. Henry's Christmas" - Berman, - Kuvykin. In the production of "Three Ivans" Matrosov plays the role of Babadur, and in "The Marriage of Figaro" - Basil.

The artist successfully combines work on the dramatic stage with filming. To date, his filmography includes more than thirty-six films and TV series. In 2004, Matrosov starred in the detective film MUR is MUR. Later, he played Lepa in Liquidation, the gentleman in The Most Beautiful, Mishan in Law and Order, Lekha in Turkish March, Uramanov in the action movie Paid for by Death, Andron in Atlantis and other movie characters.

Alexei Igorevich began his artistic career as Anton from The Scarlet Flower, Oreste from The Great Magic, Dobchinsky from The Inspector General, the Cannibal from the fairy tale Puss in Boots. Now he is busy in such repertoire productions as "Treasure Island", where he plays Crooked Morgan and Billy Bones - the role of Antonio, "Three Ivans" - Miller, "Office" - Kruse.

The first film work was the role of Misha in one of the episodes of the detective Law and Order, filmed in 2007. Later, he played an assistant investigator in the TV series I Am a Bodyguard, Young in The Bus, Gichko in the Blocking Detachment, Sanya in "Tender Meetings", Kostya in "Interns", Kesha in the "Group of Happiness", etc.

Sergei Miller received a theatrical education at GITIS, where he studied at the course of V. Spesivtsev and L. Topichev. After completing his studies in 2000, he became an actor and began to improve his skills, interpreting the completely different characters of the heroes of the plays of the classical and modern repertoire.

Here he played Gavrilo in The Dowry, Bassin in The Ladies' Tailor, Claude in Madame Bovary, Arturo and Otto in The Great Magic, Titus in Testosterone, Brackenberry in Richard-Richard, Varvil in The Lady with camellias”, Derzhimorda in “The Government Inspector”, Vittorio in the production of “Nights of Cabiria”.

In the current repertoire of the theater, Sergei Andreevich is busy in such performances as, where Epikhodova plays, "The Marriage of Figaro" - the role of Don Gusman, "Treasure Island" - the Black Dog, Billy Bones and Merry Gomez - Egor, "Great Magic" - Arturo Pena and a number of other performances.

Miller began working on the set in 2002. His first film work was the role of Corporal Carl Gille in the military drama Zvezda. In 2003, he played an episode in the TV series Antikiller-2, and two years later he took part in the film Love and Gold. Also, the film heroes of this actor were One-Eyed in the action movie "Wolfhound of the Gray Dogs", Ignat in the series "My Prechistenka", Titov in "Law and Order", a Swedish soldier in "Servant of the Sovereign", a doctor in the TV series "Kitchen", etc.

Nikolai Kislichenko joined the troupe in 2011, immediately after graduating from the Moscow Art Theater School, where he was mentored by R. Kozak and D. Brusnikin. His first major works on this stage were the roles of Tretin in Testosterone, the Archbishop in Joan of Arc, the Messenger in Borrow a Tenor!

I wanted to go to this performance for several reasons. First, the performance was praised. Yes, I am wary of highly laudatory reviews, but based on some photographs and interviews, I thought that it would be interesting to see the performance. Secondly, Sergey Lazarev as Figaro. I was very skeptical about Lazarev the actor, to be honest. Then I saw an interview in which he said that he had been playing in the theater for almost 10 years! He was taken to the play in this theater from the theater, and has been playing since then. He even has 3-4 titles in the theater! In general, I decided to look at him. Thirdly, Alexander Arsentiev! The same Billy Flynn from the musical "Chicago".
I really liked the performance, I can recommend it to cheer up and have a good evening.
I didn’t watch the recording with Andrei Mironov as Figaro, I didn’t read the play, to be completely honest, I had no idea what they would show me (that’s how illiterate I am, I will correct myself as much as possible). I had nothing to compare with, I looked from scratch.
The first thing that strikes in the performance is the scenery in 4 tiers! The only minus, but it is not significant: when someone runs through the fourth tier, only the legs see the balcony (but insignificant heroes rarely run there, mostly they ran away or entered).
The performance is dramatic, but with perfectly matched musical inserts, this brings even more liveliness and dynamism to the action.
The cast is GREAT!! Everyone plays in the same team! Yes, how they play! Very good! Seriously to play such a story, not to stoop to hack-work and stupid hints and jokes is worth a lot to me. A little more specific on the program.
Figaro - Sergey Lazarev. I liked it very much! All my doubts are gone, I am very happy for Lazarev that he has a theater and roles other than concerts, and for myself that I considered an actor. Apparently, Sergey is actively engaged in speech before performances, although rather with his voice, because it’s one thing to sing into a microphone, it’s another thing to say so that I hear everything from my penultimate row of the balcony (and I heard everything!). Maybe it's just my guess, I don't know.
The role was perfect! Quirky, cunning, sweet, kind, helpful - all in one person, shown wonderfully. Even at the end of the performance, when there was Figaro's monologue for about 5 minutes, I was a little scared if he would hold me back. Held! The hall sat as if spellbound! And so am I. Very good! It seems to me that it’s good that I watched the performance when after the premiere there were about 15-20 performances, when everything was already run in.
Count - Alexander Arsentiev. Great! Everything came together: appearance, speech, manners, you can’t imagine better) I would gladly look at him (and Lazarev too) in a different role, it would be very interesting (I hope I won’t be disappointed with the performance, as I already had in this theater) .
Of the female roles, of course, it is worth highlighting the Countess (Victoria Isakova) and Suzanne (Alexandra Ursulyak). The Countess has a very interesting intonation of a dying swan, but the mask periodically flies off at the right moment, which causes a reaction from both the audience and other heroes of the play. The costumes are wonderful! They look great, very beautiful, emphasize the figure. Suzanne is a really worthy Figaro couple) The Super Family will come out! They stand each other) A good duet turned out.
In general, I liked everything (and not only the main characters, about which I wrote briefly), I liked everything, so I recommend watching it, preferably from a good place (but the prices bite a little). I would recommend and revisit the show!

Music sounded - Mozart and Rossini. I liked that it was not like an insert number (it sounds like that in Lenkom), but as a direct part of the spectacle. Unusual arrangements - that was what was non-academic in the performance! - made in accordance with the tempo of the performance. An academic orchestra in black tailcoats would be clearly out of place here. Melodies from The Marriage of Figaro, The Barber of Seville, themes from The Little Night Serenade, the 40th Symphony, Mozart's 21st Concerto are well known and fit well into the action.

I carefully listened to the monologue of Figaro - Sergey Lazarev about cunning principles, about deceit and intrigues and thought: “Well, you bastard! And he thinks he's right! But the time has come for such natures.

However, one cannot say that the authors of the play modernized the production (if only Marceline's short haircut looked like an anachronism). Director Yevgeny Pisarev brought to light from the old comedy what is in tune with our time, in tune with his soul, and thus became in tune with the viewer.

The Countess - Victoria Isakova - at first seemed like a fool to a fool. The whole room laughed at her stupidity! But out of women's solidarity, Suzanne - Alexandra Ursulyak - helps the Countess to defeat the Count and prove to her husband that indulging his spoiled nature, following the old customs of the overlords will not lead to good!

I liked that Sergey Lazarev and Alexandra Ursulyak show that Figaro and Susanna really love each other. Thus, the idea of ​​the triumph of love is traced in the performance!

Alexander Arsentiev in the role of Count Almaviva follows the instructions of the author - Beaumarchais. I see that his count "is full of consciousness of his own greatness, but he combines this with grace and ease." The impeccability of the count's manners is shown by the artist very well. I agree with the author that "the role of the count is especially difficult to play because he invariably finds himself in a ridiculous position."

But Arsentiev plays in such a way that I felt sympathy for the count.

The artist made me happy with his performance. It can be seen that he, like all other performers, plays this performance with pleasure. Creating an image, emotions, assessments, behavior in the "zones of silence" - everything is at the highest level, convincingly and adequately.

I always like the way Arsentiev interacts with partners. Today it seemed that when Count Almaviva appeared on the stage, the action began to spin, like a clockwork toy mechanism when the key is turned.

The count does not like jokes - this is what ruined him. He understands in documents, but not in intrigues and feelings. That is why he failed in this area.

Tough, commanding, shooting, judging, but at the same time a farcical character. At first, the Count gets angry somehow for fun, or something, too exaggerated, they say, don’t lead me by the nose - I know that you are lying. And at the end, Figaro and the women managed to bring him to a white heat, and he yelled quite naturally.

The staging is great. A funny scene turned out with a sledgehammer. The audience laughed like in a circus. Again, if someone does not like farce, then why complain about the farce of what is happening on stage?

There were several overlays in the performance (sorry for the jargon), or so they looked like. That wine was spilled - I had to wipe it with a napkin, then the apples were spilled, but there was no time to pick them up. Sergei Lazarev - Figaro did not catch the orange thrown by Arsentiev - Count. Then I digressed from the text and waited for Figaro to pick up the orange that had rolled away and throw it back to the Count. One could bet a thousand rubles that Arsentiev would catch it. Caught. I knew.

It’s even strange to write about this when it comes to a professional actor. But Arsentiev differs in a positive way from many of his peers. We can say that this is an artist with an internal culture that was inherent in the default masters of the outgoing generation, the stars of our childhood. And it is wonderful that among modern actors there are people like Arsentiev who continue the best traditions of our theater and cinema, our culture.
Well, I'm delighted, this is my opinion, my impression.

ATTENTION! Booking time for this event is 1 hour!

Pierre-Augustin Caron Beaumarchais

DIRECTOR - Evgeny Pisarev
SCENOGRAPHY - Zinovy ​​Margolin
COSTUMES – Leonid Alekseev
LIGHT - Damir Ismagilov
COMPOSER - Igor Gorsky
CHOREOGRAPH - Albert Alberts

The comedy "The Marriage of Figaro", invented by the court watchmaker Beaumarchais, has been a huge success for three centuries thanks to its ideal, like a clockwork, composition, dynamism and humor, which has not lost its freshness.

But the main secret of success, of course, is in the character of the protagonist: the talented Figaro crashed in all his public and creative endeavors, but he is full of dignity, creative power, love of life, and most importantly, he is in love. It is because of love that a “crazy day” falls to his lot, during which he will have to weave intrigues, get out in court, find lost parents, experience the betrayal of a friend, the imaginary betrayal of a young wife, but at the same time not lose faith in either love or into himself...

Many people know that "in love, as in war, all means are good." This principle is also guided by the characters of a cheerful, dynamic performance " Marriage of Figaro". The Pushkin Theater offers the audience a production with a fascinating plot that will pleasantly surprise you with many unexpected twists, funny episodes and beautiful design.

The comedy is based on the famous work of Pierre de Beaumarchais, who told about the adventures of the clever and resourceful Figaro. Once the hero rendered a friendly service to Count Almaviva, arranging his wedding with the beautiful Rosina. Nevertheless, the aristocrat proved to be an ungrateful person: after some time he was imbued with an ardent passion for Figaro's fiancee, the charming Susanna. The girl did not respond to the courtship of the count, as a result of which another negative quality of Almaviva was expressed - revenge. He begins to intrigue the couple in love, hoping to interfere with the marriage. However, Figaro and Susanna show remarkable ingenuity, wanting to outwit the arrogant aristocrat. They are helped in this by Countess Rosina, annoyed by her husband's frivolity, and also by the resourceful page Cherubino. At the same time, many secrets are revealed, in particular, the characters will end up in court, and some of them will even find their lost parents. Spectators who have bought tickets for the play "The Marriage of Figaro" will see many comical scenes, confusion and reincarnation, making the action exciting and interesting.

Directed by the director Evgenia Pisareva tells about what tricks people are ready to go to achieve their goal: seduce a girl, get married, teach a lesson to an unfaithful husband. The development of events in the play "The Marriage of Figaro" takes place to the music written by Igor Gorsky. Melodies, together with colorful costumes and scenery, choreography by Albert Alberts, fully convey the sophistication and grace inherent in this entertaining story.

ACTORS AND PERFORMERS:

COUNT ALMAVIVA -Alexander Arsentiev
Countess - Victoria Isakova
FIGARO - Sergey Lazarev
SUZANNA - Taisiya Vilkova / Alexandra Ursulyak
MARCELINE - Irina Byakova
ANTONIO - Alexey Rakhmanov
FANCHETTA - Anna Begunova / Stasya Miloslavskaya
CHERUBINO - Sergey Kudryashov
BARTOLO - Oleg Pyshnenko
BASIL - Alexander Matrosov
DON GUSMAN BRIDUAZON -Sergey Miller
DOUBLEMAN - Ivan Litvinenko
PEDRILLO - Nikolai Kislichenko
PERFUME: Egor Komarov, Veronika Mohireva