In the theater “Russia” was held the premiere of the musical “Cinderella”, created the iconic Broadway authors of the last century, Rogers and Hammerstein. The show, which saw the Muscovites, is not a carbon copy of the Broadway shows: the original version was created specially for the Moscow rental. Once again the company Stage Entertainment, effecting production, overcame the highest standards in the implementation of the most technologically advanced of theatrical genres that requires the creators and artists of the ownership of aerobatics.
The story of Cinderella is so ancient that it is pointless to seek its origins. Will mention a few interesting facts: first French Cinderella, whose name was Cendrillon, was clad not in glass Slippers and fur. The reason for the confusion was the similarity in the pronunciation of the French words “glass” (verre) and fur (vair). The heroine of the tale by Charles Perrault’ve lost a glass slipper, and the first Russian Cinderella called Cinderella — with the filing of Ivan Turgenev.
But all this — the distant past. Modern Cinderella, who settled in Hollywood and on Broadway — the American dream. The girl who “made herself” — from the maids to the Princess. Not without the help of the fairies, of course.
Music and lyrics of the Broadway classics of Rogers and Hammerstein’s also written very long ago — in 1957-m and for television. The story is clearly in need of upgrade. And he came three years ago on Broadway appeared theatrical musical, the plot of which was wittily and boldly corrected by Douglas Carter Bean, who wrote virtually a new play. Three years later, “Cinderella” with the new direction of Posner Lindsay, set design by David Gallo, costumes by Tatiana Noginova, choreography Irina kashubians, arranging, and adapting music Eugene Zagot, text, Alexei Ivashchenko and completely Russian custom was launched in the theatre “Russia”.
In the performance of the canonical standards of the myth of Cinderella in a funny way combined with innovation. Cinderella is a servant with her stepmother and her two daughters family? Yes. She walks in a cap and obrandom dress? Also, Yes. She goes to the ball in a carriage, which at midnight turns into a pumpkin? Again, Yes. She loses a glass slipper? And here — no!
Surprised? Shocked? How about that Cinderella becomes a conductor of democratic ideas and lobbyist of the liberal reforms that infantile at first, the Prince introduces in the system his reign? Fortunately, she is not alone with her one act, Jean-Michel, a revolutionary minded young man in a long overcoat and sunglasses, looking like Trotsky, and one of the half sisters — Gabriella, military friend, Jean-Michel, reminiscent of the last century suffragette. In the background of this bourgeois revolution would be ridiculous to rely on the actual chance. But because Cinderella does not lose your slipper — it purposefully leaves it on the stairs, so as not to immediately determine in his civilian position, the Prince had a chance to find her.
Castes in the play is very strong. Cinderella — Julia IVA, gleaming beautiful vocals and masterful tap-dance in “Singing in the rain” — good, but by no means meek, gentle but not weak. This is a very strong girl, able to make happiness not only to themselves but also to all the fabulous people.
Prince Topher in the performance of Pavel Levkin — an unusual combination of lyricism and Comedy. Topher is a shortened from Christopher. In fact, the Prince has many intricate names, among which suddenly skips unexpected “Gene” that all plunges in amazement. Novel Pharmacist — Jean-Michel — as usual, shows great acting talent, flexibility, vocals — in short, everything that enters the cage of the skills and talents of the synthetic musical performer. Very good work Catherine Markovoj (Gabriella): her character sweet, romantic and very practical. Well, Tatiana. in the role of Charlotte — a beautiful example of a slapstick actress who isn’t afraid to be funny fatty, coarse and clumsy, but very cute and charming. In its place Alena Khmelnitskaya (Stepmother, or a Madam as it is for some reason called), wickedness which do not go beyond acceptable performance for family viewing.
Note and treacherous schemer Sebastian performed by Peter Turenkova, and Lord of Pinkleton in the performance of Igor Tailor. By the way, is a wonderful Tailor’s voice once again reminds us that in the musical, sometimes a secondary character can have much stronger vocals than the main character. Simply because this is required by the rules of the game in that particular show. And, of course, Elena Charkviani in the role of the Fairies shows the strengths of their artistic personality: positive energy, sensitive work with a partner and hit accuracy in the image.
Ensemble scenes in the musical — dynamic and spectacular. The action generally takes place rapidly, not slowing down in the arias and duets, which, although not pulling in a hundred percent hits, such as, for example, in “the Sound of music, but still extremely melodic, beautiful and individual in style.
We should not forget about the stunts — they abound here. Great flight this glowing carriage that harnessed magical animated horses.
But the most spectacular is the instantaneous transformation of the outfits for Cinderella: a flick of the wrist turn to rags… rags… turn in an elegant ball gown!
Format family play presupposes the existence of different layers of meaning that satisfy tastes mixed-age audience. Here is a masterful social satire for adults, love for youth, story for the children. And for all the wedding in the finale. Because there is no person who would not have dreamed of such a happy end with a final kiss. If, of course, a normal person.