The performance of the photo-finish theater named after Yermolova. photo finish

The audience appreciated the talented acting of the actor in many productions. He created the images of King Philip in the production of The Lion in Winter, Adjutant Kuska in The Predator, the Guard in Mary Stuart and Pushchin in Alexander Pushkin, played the Photographer in The Deceivers and Leporello in the original play Salieri-Forever.

Sergey Pokrovsky knows how to be organic in completely different roles. In "Krechinsky's Wedding", the audience saw him in the role of Beck, and in "Marriage" - Starikov. The charismatic actor embodied the image of Don Fernando and Fabio in The Slave of His Beloved, as well as Ebisha in the production of Before Sunset. Currently, he can be seen in the image of Tommy in.

Sergei Igorevich made his film debut as Santa Claus in the film "The Island" directed by L. Kvinikhidze. He played Stepan in "Magnetic Storms", starred in episodes of the series "Detective without a license", "Atlantis" and others.

Shmeleva is quite in demand on the set and regularly takes part in domestic films and TV shows: “My Fair Nanny”, “Heirs”, “Who is the Boss in the House”, “Foreigners”. In the serial film "The Second Before ..." Lyudmila Alexandrovna plays the main role of the bride.

On this stage, Selezneva played Ariadne in the production of "The House Where Hearts Break", Xenia in "The Break", Diana in the play "The End is the Crown of Business". Her Isadora Duncan was magnificent in the play "My Life". Miss Andrew from Mary Poppins turned out to be bright and convincing, the Snow Queen from the fairy tale of the same name turned out to be luxurious.

Today, Selezneva can be seen in a number of repertory performances, including in a production where she plays Eva. She also participates in the creative project of the theater (eight poets).

The first role of Olga Ivanovna in the cinema was the bride of Alexander in the film "White Land". This was followed by work in the films "Unexpected Love", where she played Sveta, "I-11-17" - the role of Ruta and "Believe it or not" in the image of Dasha. Of the latest works of this actress, a psychiatrist is noted in the tragic farce "Conference of Maniacs".

Pavel Pavlovich accepts invitations from directors and works on the set with pleasure - since 2003 he has starred in almost fifty projects and the list of his filmography is expanding every year. In the series "Taxi" he played the main character named Edik. And in the serial project "Criminal Video", Raevsky became his character. Of Galich's latest works, viewers note his Semyon in "Secrets of Mrs. Kirsanova" and Tisha in "Mylodrama".

A brief dossier on this performance may sound like this: a two and a half hour action, “Photo Finish” based on a story by Peter Ustinov, partly autobiographical. The protagonist, eighty-year-old writer Sam (Vladimir Andreev, artistic director), creates a new novel - his own biography - and, wanting to be, gets a rare chance to go into the past, talk to himself in the 60-year-old (Aleksey Sheinin), 40-year-old (Boris Mironov ), 20-year-old (Pavel Galich) age, to see from the side of himself and the people around him. Being two, three, four in the same reality, the "Sams" sort things out with might and main, which is the humorous filling of the performance, and, as it should be for representatives of different generations, they do not always understand each other and do not always listen to each other's opinion and advice. I cut through the basic morality of this philosophical phantasmagoria through and through before it, in exactly the same form in which I formulated it, sounded from the lips of the protagonist. And the moral is this: it is impossible to change your past, because life does not tolerate the subjunctive mood, but the past can change us, our present and future, teach us from our own and other people's mistakes. It's too late to correct the mistakes of youth - and is it worth it? - but it is never too late to do what has not been done, to say what has not been said, to realize how those whom we used to call relatives and friends are really, truly dear and close. From all this I conclude that at the end of the path it is worth looking back in order to comprehend the meaning and essence of this path, but in order to complete this path with dignity, we must look ahead again, leave a good memory behind ourselves there, ahead. And Sam copes with this task successfully - summing up, he managed to escape from the captivity of loneliness, which makes the finale of his story not sad and gloomy, but warm and joyful, not the expectation of death, but the continuation of life. In general, this performance, in my opinion, is addressed more to those who are already at the finish line than to those who are still at the start, which is quite logical given the predominantly elderly audience of modern classical theater in general. However, even without being burdened with thoughts “about the eternal”, the viewer will be able to appreciate the subtle nostalgic-confessional wisdom of the narrative, the reflexive atmosphere of the action, unpretentious, unobtrusive, implicit instructiveness. All actors play perfectly - sincerely, lively, with full dedication. The scenery, the music, the lights are gone. And all this means that the performance was a success, once again reminding you that if you ask yourself the question: “So where did sadness come from? »©, this does not mean that once upon a time you got married in vain, divorced in vain, took a mistress in vain, etc., which means that you need to open your eyes and see that life, it turns out, passes by, but you can to return it to yourself - it all depends on you. So, I give the high-quality, solid, thought-provoking, but not plunging into a state of culture shock creation of the Yermolovtsy a B-plus and I advise not only everyone, but those who are interested, for sure, to look at this thing.

(Big hall)

The story of one novel in 2 acts (2h40m) 12+

Review of "Afisha":

This is probably one of the best plays by Peter Ustinov, at least among those that were staged here. Deep philosophical reflections are clothed here in a sharp, entertaining plot. It has long been known that no one wants to learn from the mistakes of others. A popular 80-year-old writer named Sam for almost three hours has been discussing with ... himself, but at different ages - when he was 20, 40, 60 years old, conjuring up and remembering his wife, son, etc., trying in hindsight to protect themselves from rash acts. With each of the "characters" Sam finds out the relationship, and sometimes very temperamentally, bringing the matter almost to the fists.

Directed by Sergei Golomazov, relying on the support of the artist Stanislav Benediktov and actors in all generations from the novice Pavel Galich to the eldest in the current troupe - Vladimir Andreev, wins an impressive victory. I will say more, this class has not been played here for a long time. But the play is not so simple at all! It has little action, but a lot of monologues and dialogues. The tension is maintained with the help of music, plastics, light. But it seemed to me that the actors play with pleasure. They like to play pranks, fool around, quarrel. I did not make a reservation: we are talking not only about the characters, but also about the performers. At the same time, almost no one loses his sense of humor, reminding us that it is not an everyday play that is being played, but a kind of phantasmagoria, where time is both a conditional and completely concrete concept.

"Photo Finish" is not just the luck of the Yermolovites, but a weighty argument in the dispute in favor of the repertory theater, the rumors about the imminent death of which seem to be greatly exaggerated.

Directed by S. Golomazov. Artist S. Benediktov. Plastic directors N. Garanina, S. Vlasenko.

Boris Poyurovsky

The performance includes:

The play "Photo Finish" in the theater. Yermolova

Is it possible to travel back in time to see the departed parents? Meet your first love? Correct the mistakes of youth? The play "Photo Finish" at the Yermolova Theater convinces the viewer that everything is possible on the stage. The sparkling play of actors, deep reflections on the meaning of life, an entertaining plot are good reasons to buy tickets for "Photo Finish" and immerse yourself in the wonderful world of the play.

"Photo Finish" at the Yermolova Theater

Is it possible to travel back in time to see the departed parents? Meet your first love? Correct the mistakes of youth? The play "Photo Finish" at the Yermolova Theater convinces the viewer that everything is possible on the stage.

Premiere

On March 11, 2006, the audience saw "Photo Finish" for the first time in Moscow. The premiere coincided with the recent celebration of the 80th anniversary of the theater and the benefit performance of the artistic director - Vladimir Andreev.

The author of the play is Peter Ustinov, an English actor and director with Russian roots. A talented director Sergei Golomazov was invited to stage a literary work on the stage of the theater. One year later, at the International Theater Festival in Moscow, "Photo Finish" won in the nomination "Best Performance". Human comedy, phantasmagoria with elements of farce, tragicomedy - this is how critics and spectators spoke about the new production at the Yermolova Theater.

History of a novel

The protagonist of the play "Photo Finish" Samuel Kinsale writes an autobiography. Plunging into memories, his whole life passes before him. The viewer lives the story of the character: he sees him at the age of 20, 40, 60 and, finally, 80 years old. What Sam comes to at the end of his life is the main problem of Peter Ustinov's play.

Cast members

The originality of the storyline of the play "Photo Finish" was reflected in the composition of the troupe. Each character, depending on age, is performed by different actors. Writer Sam shines in the performance of Vladimir Andreev, Alexei Sheinin, Boris Mironov and Pavel Galich. The female roles are played by theater actresses: Olga Selezneva, Anna Skvarnik, Svetlana Golovina, Elena Koroleva and others. Stage decoration was done by Stanislav Benediktov.

Tickets for the performance

Follow the poster carefully so as not to miss the performance of the play "Photo Finish" in 2019. It is most convenient to order tickets for "Photo Finish" in our agency: for 10 years we have been saving your time by offering you to choose the best seats in the auditorium without leaving your home.

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The sparkling play of actors, deep reflections on the meaning of life, an entertaining plot are good reasons to buy tickets for "Photo Finish" and immerse yourself in the wonderful world of the play.

Photo finish. Theater named after Yermolova. Press about the play

Novye Izvestia, March 14, 2006

Evgenia Shmeleva

Grandpa Sam's cabin

At the Yermolova Theater, the benefit performance of the artistic director turned into a search for the meaning of life

The Moscow Drama Theater named after Yermolova played the premiere of the play "Photo Finish" by Sergei Golomazov based on the play by Peter Ustinov, a British playwright with Russian roots. The performance is a belated benefit performance of artistic director Vladimir Andreev, who turned 75 last year. Like a "playing coach", Andreev remains the main figure on his own stage to this day. This time he played the 80-year-old writer Sam, who was destined to meet himself - 60-year-old, 40-year-old and 20-year-old.

The artistic director of the Yermolova Theater has long been hunting for the director Sergei Golomazov, who is now in demand, passionately wanting to get him. But Golomazov was not accustomed to a settled life. He, as a guest director, puts on performances either at the Gogol Theater, or at the Vakhtangov Theater, or at Armen Dzhigarkhanyan, or at his native RATI. Such a "wandering" life is not conducive to even creativity. Therefore, Golomazov's productions are often frankly non-repertory, like, say, his Adrienne Lecouvreur with Dmitry Pevtsov and Olga Drozdova in the lead roles. But luck also happens when his work falls into the category of the best performances of the season, as was the case with his "Three Tall Women" by Edward Albee.

“Photo Finish” turned out to be a direct paraphrase of “Three Tall Women”, with the only difference being that the problem of loneliness, old age and stratification of the personality is now worrying not women, but four not very tall men. Having met on the poster, three names - Ustinov, Andreev, Golomazov - made a performance that is rare in terms of the quality of acting, dramaturgy and directing, which, even if it is not noticed by critics (they usually do not expect bright premieres from the Yermolova Theater), is guaranteed to delight the public.

The program says that the performance is supposed to be a tragicomedy, but it did not gain the declared tragic depth and more resembles a phantasmagoria with elements of a farce. Ustinov's incredible plot is rapidly spinning: the elderly Sam, who is writing an autobiographical novel, comes to his memories one night. Like layers of a hero's memory, glass screens move apart one by one, and the 80-year-old writer meets his 60-year-old, 40-year-old and 20-year-old self. So, gradually the scene is filled with four Sams, who, not having time to recover from the shock of meeting with themselves, immediately begin to sort things out in ironic tones.

Andreev, who does not leave the stage for a minute in the role of the 80-year-old protagonist Sam, is more charming than ever: he will playfully look over his glasses, then he will play with dimples on his cheeks, or he will suddenly begin to look thoughtfully into the hall and feel sad, but so talented that he does not I want to look at other heroes, but only at poor Sam. During the performance, his hero is destined to go a long way, and from a frivolous old joker in the finale, an enlightened and solemn old philosopher will be born, who was looking for and finally found for himself the answer to the eternal question about the meaning of life.

Sam-80 and Sam-60 (the latter is played by Aleksey Sheinin) are concerned about the problem of the near end and therefore talk more and more about the dangers of smoking and a sick heart. But the Sams of twenty and forty years old (Pavel Galich and Boris Mironov) are not at all like them. These fussy young people are more concerned with their relationship with Stella, who for Sam-20 is still his beloved bride, and for Sam-40 is already a pregnant wife, whom he desperately hates. All other characters - wife, mistresses, mother and father - are only called upon to shade the conflict taking place in the head of the main character. And this conflict is similar to schizophrenia in its most acute form. And if not for Sam-80, who is trying to reconcile everyone and fix everything, the other Sams would probably have killed each other. Mutual reproaches and insults eventually merge with the characters into a comic "We". "We are scoundrels!" one of the Sams has to admit. And the rest of the Sams can't help but agree.

Golomazov wanted to derive a great moral from the personal and creative tragedy of the ordinary writer Sam. And therefore he made not one, but almost five finals, which made the second act much more difficult. At first, Andreev's hero will talk about loneliness for a long time and sadly. Then he admits that he wanted to correct the past, but could not change anything. And finally, he will chat with his father, who in Ustinov's paradoxical play turns out to be younger than his son. And already at the very “last” end of Sam-80, all his other incarnations will surround him and solemnly promise to help the old man finish his autobiography and cross the finish line together.

Kommersant, March 22, 2006

Theater of old age

"Photo Finish" at the Yermolova Theater

The Yermolova Moscow Drama Theater celebrated its 80th anniversary with the premiere of the play "Photo Finish" based on the play by Peter Ustinov directed by Sergei Golomazov. ROMAN DOLZHANSKY discovered that time had no power over the Yermolovites.

On the one hand, an old play from the early 60s of the last century, by the late English actor and director Peter Ustinov, is very suitable for such an occasion. Its main character, a writer, is also 80 years old, and he is doing the same thing that is supposed to be done at theatrical anniversaries, that is, turning over the pages of his past. On the other hand, the old man's past turns out to be far from glorious, filled with high service to art, but completely sinful and worthy of more sympathy than admiration. In addition, the hero must die at the end of the play. So it is difficult to assume that the theater saw its lyrical hero in the face of the hero of the play.

The anniversary itself was celebrated somehow shyly. It is clear that seating the troupe on the stage and accepting bouquets all evening and listening to the on-duty declarations of love from the public will be completely Soviet. On the other hand, how to refuse a speech by a representative of the city authorities or an address from the Maly Theater, which will be read by Elina Bystritskaya in a deep solemn voice? Moreover, there are so many peers of the theater or people with half a century of spectator experience in the hall. You can just arrange a banquet, but this is not artistic, so the last premiere was shown first.

One of the great wits (probably Ranevskaya) called the anniversary "a funeral rehearsal." In accordance with this devastatingly accurate aphorism, one should either say good things about the jubilee performance or keep quiet. Or at least this way: first of all, about pleasant things, and about the rest in a nutshell. Good in this performance was the artistic director of the Yermolova Theater Vladimir Andreev. I haven't seen Mr. Andreev's directorial works for a long time. And I have not heard from anyone recommendations to watch any of them (not only from those whom I trust, but even from those whom I do not trust). In general, the theater in perhaps the best place in the city - is it a joke, the beginning of Tverskaya, and from the entrance to Red Square is visible - has been living in an information semi-vacuum for many years, which, it seems, the theater management is quite happy with: let them scold the marketing rule, the main thing is to wrote "here in the old fashioned way they do not trust.

But now, as an actor, Vladimir Andreev, I myself can recommend it to any good director. In "Photo Finish" he plays old Sam very well, accurately and cleverly. For three hours, his hero practically does not get up from the sofa, and if he does, it is only to transfer to a wheelchair. Mr. Andreev has enough natural charm, skill and gentle humor to literally lead the performance - delicately, maintaining restraint and not showing greed for the attention of the audience, but remaining invariably attractive and interesting, even in static and silence.

In the play by Peter Ustinov, not only a revolutionary, but a winning dramatic device is used: the hero, who has lived all his life in the same house, meets here with his 60-year-old, 40-year-old and 20-year-old self. Sams of different ages sort things out, clarify the circumstances, and the elder vainly warns the younger ones against the current stupidities and mistakes. Summing up, including his 60-year family life, Sam comes, as usual, to disappointing conclusions.

Actor Peter Ustinov subtly felt the laws of the stage, he knew the price of success, and in "Photo Finish" he crossed the boulevard with psychological drama not without luck. The play by Sergei Golomazov dutifully follows the play. Sometimes, however, it brings him into vaudeville, sometimes he is thrown into melodramatic thickets, and sometimes just into a sleepy well-trodden rut. The dark wood of Stanislav Benediktov's scenery and something else, some invisible substance that is produced in any theatrical organism, deprived of vitamins of renewal, keep it from peddling. By the end of the performance, both the comic and lyrical resources of Ustin's main technique have been exhausted, and the action completely withers. The director responds to the banality of the dramatic ending with several banal endings of his own composition. In general, the theatre, like the hero of a playwright who died last year, meets with himself 20 years old, and 40 years old, and sometimes, God forgive me, even 60 years ago. What conclusions does Sam crossing the last line of life can be heard from the stage. Whether the theater draws any conclusions is unknown.

NG, March 30, 2006

Grigory Zaslavsky

Master Class

"Photo Finish" by Peter Ustinov at the Yermolova Theater

The premiere of Peter Ustinov's play "Photo Finish" at the Yermolova Theater was prepared for the 80th anniversary of the theater. But apart from the anniversary, this performance has something to look at, first of all, Vladimir Andreev, who plays the same age as the theater, an 80-year-old hero.

“The Story of a Romance” is the subtitle of the performance based on the play by Peter Ustinov, a playwright, actor and director, famous and beloved in Russia. Ustinov, who died two years ago at a very advanced age, in his play “Photo Finish” written in old age, allowed himself a slight autobiography: his hero, a poet who had no success in his youth, becomes a fashionable novelist in his old age. And he comes up with a phantasmagoric, but extremely beneficial - from the point of view of the theater - situation: an 80-year-old hero meets himself twenty, forty and sixty years ago.

Since the author of the play, by the time it was written, is closer to the oldest age of his hero, he trusts the truth to him, 80-year-old Sam. He knows more, he remembers everyone, he is ready to warn each of them against some rash acts, from trifles, which then for a long time can spoil not only the mood, but also life itself with a single wife or, apparently, numerous mistresses. Of course, it will not be possible to change anything in what has already been lived and experienced, except perhaps to remember and turn it over again, sometimes with pleasure, more often with annoyance. Life failed? Success. But there is no joy.

Among the four Sams gathering on the stage, the most charming one is the one who is eighty. Perhaps we should talk not only about the author's special disposition towards this hero, but also about the acting charm of Vladimir Andreev, who played this role and copes even with the straightforward pathos of the finale. The wisdom, which at different times he trusted and entrusted to the heroes of Leonid Zorin, in this case turned out to be very useful. Ironic wisdom, since 80-year-old Sam, of course, understands that what has happened will not happen otherwise. Even if you warn, for example, 40-year-old Sam (Vladimir Zaitsev) not to tear up photos of his mistress and not hastily lock the desk drawer. And Sam, 60-year-old (Aleksey Sheinin), does not think that his current Clarice (Lyudmila Shmeleva) is the most important love in life ... He knows everything in advance about the future of twenty-, forty- and sixty-year-old Sam. Feeling like a demiurge, with some laziness even satisfies their natural curiosity. However, fixing the blanket, closing the door - that's all the little that his will or influence over the past is enough for.

Taking into account the age of not only the elder Sam, who composed it, Peter Ustinov, but also the Yermolovsky Theater itself and its current artistic director Vladimir Andreev, one can - starting from the end - say that it is Andreev who gives a master class in acting: from the height of past years and current success 80-year-old Sam, he - even when his hero only silently watches from the sidelines of the scenes experienced - remains the most attractive magnet. The glorified depth of the Russian psychological school in Andreev's play is combined with incredible formal freedom, either Brechtian estrangement, or the school of representing the old Maly.

In the new play by Sergei Golomazov, much, starting with the situation itself - meeting with himself of different ages, resembles his directorial success of the season before last - "Three Tall Women" based on the play by Edward Albee. As well as where the 90-year-old heroine Evgenia Simonova reigned, here the oldest age is best of all - richer - painted. Perhaps, in both cases, the choice of the performer turned out to be the most correct, perhaps this particular age turned out to be more interesting and closer to the authors.

In terms of location, the Yermolovsky Theater could become the most Broadway. In terms of history and roots, it is one of the most studio and most complex in its experimental-official path, with incredible mergers, closures, tragedies and creative ups and downs. Andreev is a conservative, in almost everything that concerns directing, in an acting manner he has always been open to the sharpest and sharpest formal methods (in terms of external form, he is “supported”, perhaps, only by Vladimir Pavlov in the role of Sam's father).

In "Photo Finish" Andreev is again more interesting than the others. For the rest, there is nothing good in this, of course. But for the public, Andreev's game is a pleasure.

Culture, March 30, 2006

Irina Alpatova

Marathon sprint

"Photo Finish" by Peter Ustinov. Theater named after M.N. Ermolova

Another metropolitan theater overcame a high-profile anniversary milestone. The Yermolova Theater under the direction of Vladimir Andreev celebrated its 80th anniversary with the premiere of the play "Photo Finish" directed by Sergei Golomazov.

This play by the famous English actor, director, screenwriter and playwright Peter Ustinov was considered in the theater several years ago. Although, perhaps, not at all because it fits so well into any anniversary framework, whether it is a date related to the theater as a whole or to its individual servant. In any case, the theme of "Photo Finish" is a summing up of life and creative results, an analytical look into the past, an attempt to get out of the conflict to reconciliation with oneself and loved ones. In addition, this thing is little known in Russia, and novelty is always attractive both for creators and for the public. In general, the play lay in the theater's "portfolio" for some time, waiting for its director, who in the end turned out to be Sergei Golomazov.

To say that the theater's relationship with the creation of Peter Ustinov turned out to be problem-free is to prevaricate. Ustinov in the last years of his life said more than once that he was increasingly attracted to literary creativity, which he prefers to give preference to visual arts. And in "Photo Finish" these author's priorities, of course, affected. There are things that can be easily stated on dozens of pages of printed text, reveling in the stream of consciousness and with virtually no risk of losing reader interest. When translated into stage language, for these verbal outpourings, one bright episode is enough, capable of absorbing everything spectacularly and emotionally. Further, the repetition of the past begins, which is not at all obligatory, if we rely on the purely theatrical rules of the game.

It was precisely with this that the director had to fight in the first place, but the game of theater and literature ended in a draw, although during the action there were also separate preponderance of forces in one direction or another.

The protagonist of the story, Sam Kinsale, dismembered in the process of action into his various ages incarnations, is a popular writer. But the stage designer Stanislav Benediktov did not close what was happening only in the silence of the office walls. Of course, there are shelves with books, and a desk, and other literary and intellectual attributes. But the main thing is the image of a certain House, where the long 80-year life of Sam himself, and before that of his parents, passed. This house, dominated by numerous illuminated doors, constantly opens into the depths, farther and farther, letting in its inhabitants, even if today they are presented only as memories.

The reception declared by Ustinov is rather peculiar. 80-year-old Sam (Vladimir Andreev), who embarked on a memoir path at the end of his life, evokes his former self - 60-year-old, 40-year-old, 20-year-old. His wife Stella of different ages, parents, son, mistresses. And all of them, obeying the will of memory, come to this house, meet each other, sort things out, philosophize and argue, sometimes reaching a fight. Sam the elder, in the wise, but very ironic performance of Vladimir Andreev, sometimes so desperately wants to "rewrite" the history of his own life, to protect his former incarnation from something, to reason with him, to instruct him. Is it worth recalling the futility of such attempts?

Sergei Golomazov and, of course, the actors of the Yermolov troupe succeeded in the main thing here. To achieve an almost impossible synthesis of a living, really existing person and at the same time a kind of "character", which involves looking at oneself from the outside. This view belongs, of course, to Sam - Andreev, who practically does not leave the stage for three hours. But it does not focus on itself the attention of the auditorium and does it very worthy. On the contrary, sometimes it emphatically fades into the shadows, making room for the splash of emotions of other characters. He himself reserves the role of a commentator - sometimes sympathetic, sometimes very malicious.

There is a place for all shades of human relations. 60-year-old Sam (Aleksey Sheinin), a playboy and womanizer, put creativity on stream. Nervous, agitated and temperamental Sam-40 (Vladimir Zaitsev) is ready to throw himself into a fight with his naive 20-year-old incarnation (Pavel Galich). They count the circulation of their own books, argue until they are hoarse about the paths and dead ends of the creative process, recall all the ups and downs associated with marrying Stella (Anna Markova, Tatyana Rudina, Alexandra Nazarova). And all the time, as it were, they look back at the "final" Sam - Andreev as the final result, to which the sum of all intermediate ones has converged.

But there are still parents and children. The stern martinet Mr. Reginald (excellent work by Vladimir Pavlov), one has only to change the angle of view, suddenly opens up as a deeply unhappy and infinitely lonely person. Chatterbox Mrs. Kinsale (Elena Koroleva) painfully reminds her wife Stella. And in the son of Tommy (Sergey Pokrovsky), the features of both father and grandfather will suddenly appear. Everything will go in a new circle, closed within the walls of the House, which, it seems, dictates its own laws.

The problem is that this circling begins long before the finale. In this case, the actors are not to blame, who, on the contrary, in this performance demonstrated a high-quality style of acting, very personal and temperamental, which, probably, also affected the work with a new director, which always mobilizes. It's just that their characters are quite definitely drawn out by the author and placed in situations that are almost incapable of effective and psychological development.

And as for the ending itself, it was with him that the biggest snag happened. Because they could count at least three, if not more, which is simply unacceptable in a professional action of a sufficiently high level. And when Andreev's hero in his last monologue (sounding very powerful and at the same time touching, but not opening any Americas from the point of view of the author's thought) pronounces the word "final", then this serves as a logical point, and is played in a similar vein by a more than experienced artist, the laws of the scene knowing by heart. But to the author, and after him to the director, who did not wish to challenge the dramatic structure, everything seems to be left unsaid about something, something has not been clarified. But after all, this is an axiom - a certain reticence has its own charm, an appeal to the audience for co-authorship, for mobilizing their own associations. Here they did not fully trust this, but it's a pity.

RG, June 2, 2006

Alena Karas

The joy of the last line

At the Theatre. Yermolova - premiere based on the play by Peter Ustinov

Theatre. Yermolova played his last performance on the big stage. Very soon, this drama theater of the capital, closest to the Kremlin, will undergo a major overhaul. Built in 1802, the building was last renovated in the 1950s. The theater, which had just celebrated its 80th anniversary, was solemnly closed with the premiere of "Photo Finish" based on a play by Peter Ustinov.

Today, having gone through various periods of its difficult 80-year history, the stagnation of the late 70s and a stormy surge in the era of "perestroika", the theater retains a noble indifference to the rhythms and customs of modern times. Sentimental women come here, battered men and ladies of serious years, who have passed a fair share of its history with the theater. Here, the popularity and love for the artist is still determined by his stage fate, and not by flashing on the television screen. And although there are quite a few Yermolovites flickering in the series, a storm of applause meets Vladimir Andreev, who is far from television popularity.

He enters the play "Photo Finish" to play the 80-year-old hero of the play, Peter Ustinov. Actually, the characters in the play are not one, but four. All of them are Sams, all of them are united, inseparable and categorically do not resemble each other. They were brought to life by the artistic imagination of a famous 80-year-old writer named Sam, who writes a novel about his own life at night. First, 60-year-old Sam (Aleksey Sheinin) appears in his office of a noble tree, then 40-year-old Sam (Boris Mironov) and, finally, a very youngster - 20-year-old Sam (Anton Semkin).

Peter Ustinov wrote this play in the early 1960s, at the height of serious British drama. Being an excellent actor, he easily and skillfully combined the theatrical innocence of London's West End with the subtle psychologism and radical theater of paradox. Here, the old sinner's adultery, the whims of his wives, and the vices of his family life are reminiscent of Brazilian TV shows or a cheap boulevard, but an impeccably witty style keeps this explosive cocktail within the framework of excellent literature. In addition, having endured the play within the boundaries of the boulevard, Ustinov managed to express himself not only autobiographically, but also extremely confessional. It is he who beats his chest, repenting of many things, but not denying anything either. He speaks of himself as the most imperfect of human structures. It is he who tests himself in the face of death, it is from her that he learns humility and love for life.

The irony of the situation lies in the fact that for the anniversary of his theater, as well as for his own anniversary, Vladimir Andreev undertook to play this particular play about an imperfect person and the sad results of his life. For three hours he contemplates, purrs something under his breath, sometimes enters into short dialogues with his young "sams".

Sitting on a solid sofa or in a wheelchair, this former marathon runner, world champion in the longest distance, smiles bitterly or happily. And it seems that this smile is the whole secret of life. It is to her that the audience of the Yermolovsky Theater enthusiastically applauds. This soft, insinuating, charming and charming smile of Andreev is a trademark of his acting style. Just like his soft, lost in self-reflection, slightly ironic, slightly sad tone. It's hard to describe, perhaps that's what his teachers said.

Without any pathos, harshly and wisely, he tells the young people about the future that awaits them, angry and indignant, laughing and joking. The humor of these mutual claims becomes stronger, the more irreversible the outcome. Sam Eighty does not teach, does not kill with pathos. Yes, and where would he come from, pathos, when he himself - a victim of petty family tyranny, living with his long-unloved wife (a hilariously funny work by Alexandra Nazarova), who surrounded him with petty chores - is well aware that he sowed the loneliness of his last days himself. Then, when the forty-year-old did not leave her for another woman, or when, already pregnant, he did not save him from unnecessary evidence of his betrayals.

Now he is cut off from the family by a blank wall of contempt and misunderstanding, and when his own son comes to him with his bride, he douses her with the same poison of irony as his own father did his own bride 60 years ago. And the fact that he recognizes his father in himself hurts him painfully at the end of his days.

Andreev plays all these dark and light states of the soul with such a measure of gentle humor, delicacy and accuracy, which distinguishes his acting style from any other. Only once Andreev cheats on her, only once can not stand her quiet steps. At the very end, he rises from his chair to deliver the hero's monologue about the photo finish. About the fact that only by being aware of the transition beyond the last line, only by understanding how close and real it is, one can feel the joy of life, with all its defeats and victories. And by all means live with love and kindness.

Here the dam, which Andreev and his hero held back for all three hours of the stage action, breaks through and floods you with passionate preaching pathos. Andreev pronounces his hero's credo as if it were his own, Andreev's creed: "Now, if at the end of life you suddenly take it and gather your last strength and push yourself. And then you will suddenly feel joy, and not fear of approaching the finish line."