1947 ... 1957 ... 1967 ... 2017

These are the milestones of the Warsaw Melody - one of the best performances of the interior theater, which St. Petersburg officials are now choked with financial booze

Theatrical criticism is indecent to begin a review of Okhov, ahi and pink saliva. But, in the end, I am not a critic. Just an enchanted viewer. Therefore, immediately, as in spirit: a wonderful performance is staged in the interior. If in one word I will formulate my impression, then this word is a miracle.

The playwright Leonid Zorin became famous after Mikhail Kozakov’s film “Pokrovsky Gate” (1974). And the Warsaw Melody was written in seven years earlier, on the eve of the Prague Spring and the Soviet tanks crushed it. In Interior in 2013, director Dmitry Pavlov set this play. It was a good performance, strong. But the actor left, and now - the second version seems to be the same setting. The program notes: "Director for working with actors Nikolai Belyak." The scenography of Mark Bornstein, who managed to pack the space of the tiny scene so that the trinity of the place - time - acting really becomes really visible. (Although the action itself has been sprinkled in three decades and two capitals.)

What is the performance about? About how the peoples (with all their historical prejudices, with all over the centuries -old, dramatic history of painful relationships) are found when two young people are found. She is Gel, a Polki student (studies in Moscow), he is Victor, yesterday’s Soviet soldier and yesterday's liberator of Europe, also a student.

1947. They are beautiful. They are clean. They will love each other at the conservatory at the Shopin concert.

That's just their marriage cannot be held: at the beginning of the forty -seventh in the USSR, a law prohibiting marriages with foreigners will be adopted.

But the nagging sense of folk compassion for seemingly stranger remained.

And love often begins with compassion. When the Red Army freed Poland from the Nazis, Stalinist socialism reached Warsaw and plunged it into new slavery. But for some reason, compassion was not dispelled. It survived, despite the fact that the liberator turned into the occupier, survived, despite the difference in mentality and the load of national prejudices.

Three hours of this performance are three eras: 1947, 1957, 1967.

And fantastic (again I apologize for excellent degrees!) The game of two young actors brought up by Nikolai Belyak from the student bench, Nastya Salova and Alexei Udaltsov.

As actors are able to reincarnate so visibly into people of those far from them and such different times - the directorial secret. And the secret of four -year work on the performance.

Warsaw melody in the interior theater
Nikolai Belyak

Nothing so unprecedented ...
Only the glass was not beaten.
Lesha Udaltsov and Nastya Salova
We went out in the fairy tale of Leonid Zorin.

Miracle began with small -
From a gesture, gaze ... - Who would know in advance
The price of this predetermination.
After all, love, like a grandfather's legend,

It begins as compassion.
This is her difference from falling in love.

Andrey Chernov, member of the St. Petersburg Pen-Club

PS

This year, Smolny officials blocked even that minimal funding that allowed the interior to stay afloat. Actually, they longed for twenty years in a centimeter, then they released this Spanish Garrot a little ... Therefore, you need to try to disrupt the financial strangle with the whole world.

details

St. Petersburg State Interior Theater
TIN 7825350802
GPP 784101001
R/account 40703810800000006354
Cor. Account 30101810200000000869
BIC 044030869
JSC "Kab" Viking "St. Petersburg
It is necessary to indicate the purpose of the payment: donation for the statutory activity.