When the premiere of “the Princess of circus” in the musical Theatre Emmerich kálmán’s daughter Yvonne came on the scene, she said one single phrase:
— I then ask — “well it can’t be all good; tell me, what is wrong with this statement?”. I only breed hands — what can there be wrong? This is the perfect show!
However, to better understand the idea of the creators, need to be transferred overseas — to Canada, the second home of the Director Sebastian Soldevila, where for many years there is the aesthetics of the theater-circus, circus-theatre, which, alas, is not presented here, “the Princess” is the first sprouting… by the way, very successful.
What distinguishes theatre Shvydkoi is at a nascent stage of the project no one is thinking solely about commercial success; the first has to Mature love for the material. And it was a long preparatory process, meetings with Soldevila (and his team) in Paris, then in Montreal, then in Moscow… the original inspiration was gradually taking shape, laid out on the shelves, materialized in the idea. Could happen, might not happen: the meaning in to talk to the audience through immortal Kolmanovsky music language trick, motion, and to do it not deliberately, and the shades, the strong strokes…
I was able to observe all the kitchen — in Moscow and in Montreal (by the way, the performance “Kitchen” canadian theatre “Seven fingers” was brought to Moscow, in theatre Shvydkoi, with this visit, all started); what did the Sebastian (formerly acrobat) — he and his circus spread all the art-stunt drawing a future “Princess,” he rolled is called. Rehearsals were held on the Montreal hockey stadium Verdun. This profit and future main characters — Maxim Zausalin (Mr. X) and Julia Vostrikova (Theodore Verdier).
We know common examples of when drama actors were forced to learn complex ballet party, but to the circus — Yes! At the beginning of the play, Julia, singing a cheerful Aria fend off annoying fans of aristocrat should like the ladder — in the hands of circus — climb and stand on the shoulders of “another cavalier”. For three months she got used to do this complex element is so easy that the audience just froze in silent delight.
And what is significant (and this is the ideology of Soldevila and his co-Director on the Russian side of the Marina Shvydkoy), the circus is served in a forehead, here, they say, watch what you ride… It runs in the background, subtle choreography by geneviève Dorion-Coupal, circus Pro mix dance Pro muzykalnymi, and this trick (for example the span of the parterre acrobat Daria Petrova over stage right to the audience) shoots stronger.
Even in “Princess” is very balanced as singing, circus, and purely comic and dramatic sides. One easily flows into another, creating the illusion of endless brilliant improvisation.
The Pelican for me! — This phrase is powerful and exalted Carolina Bonneville from the film “Mister X”, 1958 I remember, I think all generations; and equally masterful duet was “solved” with two teams playing in the queue for the Princess — Elena Moiseeva and Leonid Zhitkov, and Alexey Colgan (Yes, it Carolina!) and Pavel Ljubimtseva.
…To Carolina cafe is a real accordionist, drawing something plaintive French. He beat dreamy makes passes with his hands. And then punches the keys, his fur tool:
— Thank you! I’ve heard enough!
Such gags can not be written in the script, they could only develop themselves in an atmosphere where all infected by the creative impulse. Otherwise Kolmanovskii material does not pick up, pardon the oxymoron, they are so light.
It is very important that the theatre itself is ripe to put this class in the two years before that gave “Cinderella” (“Golden Mask” Oksana Kostecki for the role of Godmother), and, of course, some finds from the Ringmaster, leaving the actors in the room has already been successfully tested. By the way, the same Kostecki leads to the “Princess” a whole new way Agnes de Segur, as it were for himself, his woman’s love/jealousy as a lightning rod diverts from the Baron-the traitor (Eugene waltz), the rest of his negotiaitons. And the Baron (submitted as a washed-up cynic, but, on the contrary, overwhelmed with doubt, sings about getting to hell) is finally forgiven the two main characters, they say, without you we would have not removed the masks…
The parallel love story of young Marie Latush (Ekaterina Novoselova) and Tony Bonneville (Denis Kotelnikov, recently participated in a magical stock MK) saturation of the images argues even with the x’s and Theodora. No joke — Ekaterina Novoselova so wonderfully on the tip of my ring under the big top (all mobile decoration is the arena) without any insurance, which of course leads to a standing ovation. Denis same — actor so diverse that even in the “narrow” way palcoscenico he manages to find and paint, not allowing it to tear away from his eyes. Even “Princess” is intricate stamped dots and accents, it is impossible to explain, but, say, a performing artist Vasilisa Yarina, showing the serpentine bends in the genre of rubber and hiding in the shadows of the scenery, forget the last note, throw my leg back. Tiny barely visible accent, but he remembered!
…Pleased Efim Shifrin (Porfiry in “Crime and punishment”) in the role of schemer of Pousson in a chic plaid jacket: again, one of the “lightning rods” of the Baron, he as a private detective finds out who is actually Mr. X. Shifrin, nobody knows how to play “shadow”, appearing here and there, and saturating the scene with new temptations. His pragmatic villain, rather close to the Entertainer from the film “Cabaret” is one hell of watching all the characters — positive and negative — roll into the abyss.
Needless to say, how strong in the “Princess” of the circus side. Believe me, other circus no less difficult to be transformed into a theatre, than the last to learn the tricks. Andrey Koltsov responsible for circus concept in terms of the selection of artists, managed to achieve incredible ensemble, it was a subtle, relaxed game, not “yield to the tricks” with convulsing muscles. Seeing as the audience applause circus in the final, Shvydkoi asked Sebastian Soldevila “encore” to do the trick with the contortionist Dasha (the one that I almost threw into the audience): she sprang on the shoulders of SEB, and he lifted her with one hand on myself…
The same applies to a crown room Mr. X when he climbs on the chairs to the grate, — shocking not only the difficult balancing acts, but also the ability to pause — because it all built. So “Princess” in the theater of the musical is the search for a new language, although in some familiar classical framework; here you will sing the song (verses by Alexei Ivashchenko) on the topic of the day (as in “Cinderella,” the Godmother ticking bomb); no, here, Kalman, Kalman remains, but reincarnate in a very living tissue, where everyone will be on the edge of the abyss… and the audience, the more.