“The best days in the life of Oblomov” is a new show on the new stage of “City” under the direction of Teresa Durova. In this play lots of music, songs, dances, but it is not a musical in the traditional sense of the genre. The creators of the show — Artemy Nikolaev (Director) and Vasily Urawski (author, arranger and performer of songs) — call it a musical drama. Who won and who lost in the game with one of the greatest and most profound works of Russian literature, versed observer “MK”.

Photo: press service of the theater.

Let’s start with Uralskogo. Because, forgive me, followers of the drama theatre, if the play is the music, it’s the main. Basil Urievsky artist, musician, poet, together with his team created a performance-album in the style of pop-rock (however, there is a mix of fusion, jazz-rock, Latino, you don’t know) . The meaning of his commentary on the strange story of Ilya Ilyich Oblomov, who has spent his life lying on the sofa, not a damn thing in his life is not made no one happy, and even, perhaps, made someone unhappy, but still remains cute and charming character… charming?! Positive, though cut. And no matter how much we fooled around that it is positive, because it is not going to do: love him in Russia, though it is unclear why.

Secret Oblomov tried to solve always. Contemporaries Goncharov Ilya Ilyich scolded, though understood, finding the cause of oblomovism “apathetic immobility, which left him in a wretched state of moral slavery” (DOB). And in the twentieth century, take a look at it differently — through the eyes of Oleg Tabakov in Nikita Mikhalkov. And Soviet audiences half a century ago, watched and cried, too.

But today, age is not the same. And reading other. And songs. The song is just perfect. Urievsky, something that looks like a Kristovsky (the same hat-like speaking voice, in which intonation is much more important than vocal), sings about love, happiness and simple words like nepatikami, and it comes out poetic and difficult.


Photo: press service of the theater.

But it is necessary not only to sing, but also a story to tell! About Oblomov. And even their solution to offer. Artemy Nikolaev offers. Or rather, trying. And at first it is even as if possible. Eclectic costumes, the conventionality of scenery and props (we remember that we have a theatrical musical album), we saw how the Director’s reception — all does not prevent to see the hero. Oblomov (Egor Sachkov) funny and ridiculous, but charming — in the scene with Olga, when a pretty Lukyanchenko Daria sings his song. Guitar accompaniment suspiciously like the introduction to Casta Diva, Bellini, even for a second the thought occurs: is will quote, and therefore, parody, another postmodern banter?! But no — Olga sings a beautiful original song, maybe the best in this Suite. And our hero has a seizure. He does not stand this sociopath, retired into the inner emigration, the test of love. This scene really turned out, causing a strong emotional reaction. And in anticipation of the second act we froze in anticipation: how will the image of Oblomov, what are the motivations, the authors pulled out of their cultural and intellectual baggage searches, that we understand: that’s right! Today to preserve the identity and to build bridges with the cosmos is possible only when you abandon the selfish encroachments of his ambitious personality, which tries to drag you to the bustling materialistic temptations. And only love… and so on.

But, alas! In the second act the rhythm was off, the story became unintelligible. Rufat Akchurin in the role of Stolz, which largely extended the plot in the first act, disappeared. And when I got back, was a party to the infinitely prolonged scene in which the drive was blown away, not having time to emerge. Ensemble friends Oblomov, in which the first act was just an ensemble, suddenly got aggressive to the fore, smearing the storyline. Doctor (Gennady Krakowski) evolved into some of the operetta the white devil (the coat he and the white cylinder), and touching at the beginning of the play Sergei in the role of dick the male grabbed his scythe and began to inspire real fear. But the main thing is Oblomov himself, who suddenly had moduliruet of subtle irony Goncharov in the phantasmagoria of Gogol and Ostrovsky grotesque. The plot fell apart at the seams and began to spread. And after that, missed him and the audience. If the viewer is not left after the first act (and he left), but became bored after 15 minutes after the start of the second is to call the Director. Hello! Something went wrong.


Photo: press service of the theater.

In the end, the strangest feeling. On the one hand, great music, interesting concept, great actors. A lot of impressive details: a little girl from a magical sleep, Saint Sebastian, pierced with flowers instead of arrows, ascension Oblomov on cardboard wings… the fact that modern young people want to tell more young people about Oblomov — on-serious, without mockery, without parody and “increment” idiotic meanings, is wonderful. It’s doubly disappointing that the creators of the show did not have enough — what? Maybe professionalism? Experience? Understanding what is drama? In short, not enough of something to bring his idea to the level of accomplished performance. Nevertheless, as there at the ascension? “Thanks for trying”.


Photo: press service of the theater.