There was a dau here

A couple of old-regime pensioners with higher education, a company of rock and roll freaks with electrihitars and chases, numerous laboratory assistants in white robes, dexterous electrician in modern blue-orange overalls, a mannered yoke in a skirt with a glass, strict Soviet citizens with orders on their chests, a certain number of people in the cornproof, syllabic The humanoid in golden panties and with patch muscles, the heroes of computer games or something like that, a pair of dimensionless crooks with pillows under the shirts and a lot of another colorful public-this is how the performance looks on the final bow and, in general, explains itself well at that moment. “The action takes place in a fictional state in the middle of the last century, in one closed research institute”-this is how the spectators of the opera “Love for Three Oranges” are added by a brief content from the director of the performance of Philip Grigoryan and Ilya Kukharenko, who worked at the science of Ilya Kukharenko.

Their version is so perpendicular to the authentic Prokofievsky libretto (it is also in the booklet), which does not even cancel it, but rather superimposed on top. Retelling it is like listing the plot turns of some confusing science fiction series. Grigoryan himself, to determine his work, offers the term “scientific-comedy”. Although, in fact, something, but there is no smell of humor there. The Flying Prokofievskaya Buffon game in the theater is now tightly packed and more resembles a game console.

The prince in the play is not a person, but an artificially created laboratory object, which at first at first does not grow up with his head (tenor Boris Rudak confidently coped with this difficult situation at the premiere). The king (Alexander Voronov) is the head of the Research Institute, the author of the experiment. Claric (Natalia Buhmlag) - deputy director. It has views of the plant of the supply of Leander (Eduard Morozov), who does not miss, however, to pinched the secretary of Smeraldin (Natalia Lyaskov). Another unexpected love line is the magician of Celius (Harry Agadzhanyan) and Fat Morgan (Larisa Kell): here they are not centuries -old enemies, but an elderly couple of honored scientists, sweetly scaking up at the academic dacha. Truffaldino (Sergey Vlasov)-engineer-technologist and captain of the local KVN team. Ninetta (Olga Popova) is a specialist in biotechnology, for a long time in love with an object under the code name “Prince”.

Oranges, a cook (whose bass party sings in the play Celius), the prince’s journey through anhydrous desert and other fascinating things are sent to virtual reality, the black and white likeness of which is demonstrated by the audience with the help of Mimans (choreographer-Anna Abalikhina). The ominous hoses and the mysterious orange headset are attached (the production designer is also Grigoryan, the costume designer-Vlad is quiet). “The cook is one of the incarnations of Celia in the space of artificial reality. Oranges from her pantry are a portal in the subconscious of the prince himself, ”the booklet explains intelligibly.

At the same time, it is precisely superhuman and mysterious, with an excess that had an excess here during the reign of Theodore Krentzis, now they clearly do not live in the theater. The shadow of the Ilya Khrzhanovsky Super -Project “Dau” , who placed the Perm Demiurge in the bowels of a certain institute in the guise of the brilliant Soviet physicist Lev Landau, of course, extends over the new “oranges”. But with a good smile and without any rear thoughts.

The musical part of the play, controlled by the new Maestro local artem Abashev, still convinced me more than stage. Let no one demanded that, as it was bylivorous, the stars from the sky, but the orchestra was with character - elastic, dynamic, mischievous, sometimes impudent and prickly. From symphonic fragments, breathtaking. Nevertheless, it is obvious that the theater from the conductor-visitor is shifting to the side, let’s say, the directorial-factory. The premieres are already going around, as if there is no virus. The theater lives, although he will not come up with a new director (Andrei Borisov was suddenly transferred to Moscow in November, to Mamt), the team of old and new fighters works. Most recently, Don Juan was released by the chief director Marat Gatsalov, in June, he and Ksenia Peretrukhina are waiting for “Iolanta”, and before that Konstantin Bogomolov will put, sorry, “Carmen” forgive me.