Konstantin Raikin staged the battle based on Romeo and Juliet

Love with a fatal outcome was played at the Satyricon Theater

If theaters, like people, underwent psychological examinations, the conclusion on Satyricon would look like this: “The temperament is choleric, explosive. The character is stubborn and restless.” The friends of such subjects are usually those who like it hot. The new production by Konstantin Raikin meets fans' expectations 100%.

Extreme starts with the program. Shakespeare's "Romeo and Juliet" has been renamed the radical "Dying of Love...", the cover is lined with black circles of a shooting target, and among the creators of the play are fight directors Vyacheslav Rybakov and Andrei Uraev and cycling coach Alexander Belevsky.

Most of the roles are played by students of Raikin’s course at the Moscow Art Theater School. The youth of Satyricon, not much older than the students, took on age-appropriate roles. Young forces are seething, emotions are going wild. The warring clans of the city of Verona are like packs of rabid fans. Here everyone starts up half a turn - an incorrectly raised eyebrow is a sufficient reason for a fight.

Rap chants would suit these hip-hoppers more than Shakespeare's lines in Pasternak's translation. But Raikin did not break the melody of the verse. The union of visual aggression with the harmony of rhythm is both strange and attractive, and the reverence for the word gives the events a scale worthy of a Shakespearean tragedy.

The counterpoint of the respected classics and the modern street is especially the call in Mercutio's monologue about Queen Mab. The caustic Yakov Lomkin, who looks like the leader of a militant group, tells his friends about the sorceress with such excitement that the gang, intoxicated by the fairy tale, is about to ask for a continuation. The mighty nurse Marina Drovosekova is also endowed with eloquence, generous with everyday remarks. The talkative nanny knows her worth, trying to look like a lady - she wears haute couture dresses and really drives around in a multi-wheeled personal vehicle.

But the most valued skill among the residents of Verona is martial arts. Even the ladies at the ball shine not with dance figures, but with attacking knockouts. This is exactly how, literally on the spot, Yulia Khlynina’s nimble Juliet defeats Ilya Deniskin’s klutz Romeo. Starting from the highest boiling point, Juliet's feelings flare up, threatening to burn not only herself, but everything around her. And in the futuristic landscape invented by the artist Dmitry Razumov, fires are by no means uncommon.

The scene resembles the floor of a polished crater. Semicircular slopes of the walls lead to the peak-bridge. There is Juliet's balcony, and upper rooms, and even the entrance to the amusement park. Among the older Capulets there are many who like to ride roller coasters. And young people prefer to slide onto the floor along walls as smooth as a mirror. The polish has been restored, but the volcano is not going to cool down. The bowl is filled with colored streams of video projections. The most spectacular picture is a mocking clown mask, similar to a made-up skull.

It is not easy to match the incandescent intensity of passions set by Konstantin Raikin. But young Yulia Khlynina copes with the tasks, exceeding the boundaries of the possible to such an extent that sometimes you fear for the fragile psyche of the aspiring actress. A graduate of the Moscow Art Theater School looks about fourteen years old - angular, fragile, with eyes wide open in surprise, she is indignant with indignation that Romeo is the son of enemies. And I’m ready to fight for love like a wild animal.

The stage version of William Shakespeare's tragedy was carried out by the Satyricon Theater.

Konstantin Raikin presented a youth version of Shakespeare's tragedy Romeo and Juliet in Satyricon. In 1995, he already had the premiere of the play of the same name, where the young Alexander Koruchekov and Natalia Vdovina shone in the leading roles. The second entry into the same river is staged in the genre of a catchy and super-technological show.

Lightning flashes on the stage and thunderclaps deafen - at the right moments in order to break up the fight-dump of human bodies. The starry sky flashes. The stage is “flooded” with computer-generated streams of blood. The inflorescences of white roses, projected onto the decorative “screens”, seem to be charred before our eyes. The cabins of the “roller coaster” fly, with the help of which you can get both into the Capulet’s chambers and, if necessary, “drive away” to the next world. Police sirens are wailing. The Duke (Alexander Gunkin), and after him the Nurse (Alexandra Kuzenkina) shout into megaphones. Guys scurrying here and there on sports bikes. Perhaps all this is just to emphasize that the action of Shakespeare's tragedy takes place here and now. Although Konstantin Raikin himself insisted in one of his interviews that “everywhere and always.”

In Satyricon, of course, the result is not a tragedy in its pure form, but a tragicomedy. Moreover, these genres are also clearly separated by an intermission. The first act is definitely a modern comedy. The second is an attempt at pure tragedy, where all these bicycles, the scooter of brother Lorenzo (Sergei Gromov), with the handle of which he overshadows the wedding youths, and other signs of our days no longer matter. The second act is a frank solo by Juliet (Karpova) - strong, passionate, desperate to the point of fear for the torn ligaments of the young actress. But this is an honest attempt at an honest tragedy, not limited by any restrictive framework.

Based on materials from the New Izvestia website.

Translation - Boris Pasternak
Production - Konstantin Raikin
Artist - Dmitry Razumov
Director - Sergey Sotnikov
Choreography - Renat Mamin
Fight staging: Vyacheslav Rybakov, Andrey Uraev
Musical design of the performance: Konstantin Raikin, Sergei Sotnikov
Light - Anatoly Kuznetsov

Characters and performers:
Escalus, Prince of Verona - Sergei Bubnov / Alexander Gunkin / Andrey Solomonov
Count Paris, a young man, a relative of the prince - Anton Egorov / Alexey Koryakov
Montagues - Alexander Gunkin / Sergey Bubnov / Andrey Solomonov
Capulet - Sergei Bubnov / Anton Kuznetsov
Romeo, son of Montague - Ilya Deniskin (Moscow Art Theater School) / Danila Steklov (Moscow Art Theater School)
Mercutio, relative of the prince, friend of Romeo - Yakov Lomkin / Arthur Mukhamadiyarov (Moscow Art Theater School) / Nikita Smolyaninov (Moscow Art Theater School)
Benvolio, Romeo's friend - Igor Bychkov (Moscow Art Theater School) / Vladimir Nadein (Moscow Art Theater School) / Ruslan Sabirov (Moscow Art Theater School)
Tybalt, nephew of Lady Capulet - Roman Matyunin / Andrei Solomonov
Brother Lorenzo, Franciscan monk - Sergei Gromov / Stepan Devonin
Lady Capulet - Yulia Melnikova / Albina Yusupova (Moscow Art Theater School)
Juliet, daughter of Capulet - Maria Karpova (Moscow Art Theater School) / Yulia Khlynina (Moscow Art Theater School)
and others.

The performance features music by D. Shostakovich, Rene Aubry, Lars Hollmer, Irmin Shmidt.

The duration of the performance is three hours with one intermission.

Tragedy (3h) 12+

W. Shakespeare
Director: Konstantin Raikin
Juliet: Daria Ursulyak
Romeo: Ilya Deniskin
Escal: Alexander Gunkin
Montague: Sergey Bubnov, Andrey Solomonov
Paris: Anton Egorov, Alexey Koryakov
Mercutio: Nikita Smolyaninov, Yakov Lomkin
Benvolio: Vladimir Nadein, Ruslan Sabirov
Tybalt: Andrey Solomonov, Roman Matyunin
brother Lorenzo: Sergey Gromov
Lady Capulet: Albina Yusupova, Yulia Melnikova
Nurse: Marina Drovosekova, Nina Andronaki
and others S 17.07.2015 There are no dates for this performance.
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Review of "Afisha": Konstantin Raikin is releasing the course again and again giving students the main test - the ability to play his “one hundred and four pages about love.” The last course entered the big stage with “Country of Love” (“The Snow Maiden”), which was emphatically poor, accurately formed from objects that came to hand. The current one got to “die of love” (“Romeo and Juliet”) - in an expensive setting, colored with unique special effects like clown masks, which with malicious approval watch the Capulets’ ball from the black skies.
18 years ago, the director had already staged Romeo and Juliet, and that performance was partly a veneration of Italy itself with Renaissance costumes, Italian views and Juliet with the dead Romeo, accurately recreating Michelangelo’s Pietà. The current one was a snapshot of the globalist world, and the action was transferred to the velodrome in Luna Park, which can be seen in any country. Young representatives of warring clans take off and tumble down steep slopes on bicycles, screams rush from roller coasters in the distance - the lack of feelings is compensated by adrenaline. One day the carriages will take off in complete silence, opening the account of the deaths of the young - Mercutio, Tybalt...
Raikin staged a play about a rapidly simplifying world, where the complex details of feelings are contrasted with thoughtless strength and monstrous infantility. Shakespeare's stanzas echo the passing culture that this world is rapidly forgetting. Fights without rules are becoming the most fashionable entertainment, and girls are in no way inferior to boys here. So Juliet (Yulia Khlynina) treats Romeo (Ilya Deniskin) to a stunning (literally) reception at the ball - girls are now taught to defend themselves from an early age, breaking something important in them.
But salvation will come from them - from this next generation, raised by infantile parents who are the same age as their children not so much in age as in mental development. From a generation whose forehead has hit some kind of emotional rock bottom, but which for some reason is acutely aware of falsehood. And, having heard the advice of the next nurse (mom-dad) to betray their love and themselves, these children immediately realize the betrayal and act quickly - whether with poison, a dagger, or a jump out of the window - just so as not to continue the lies and enmity.
Staged by K. Raikin. Artist

William Shakespeare

Duration: 3 hours with intermission

New scene

People's Artist of Russia Mark Rozovsky presents his view of Shakespeare's immortal tragedy. This will be a classic interpretation of the play: with medieval costumes, sword fights, and dancing. One of the main characters will be music: the performance will be decorated with fragments from the fantasy overture by P.I. Tchaikovsky "Romeo and Juliet". Mark Rozovsky spoke about the idea of ​​the play: “They said that when Vysotsky played Hamlet, he acted not only on his acting “I”, but also “on behalf of the generation.” We need to try to do something like this. While performing "Romeo and Juliet", we must remember what is happening today on our street and especially not on ours. Never before has humanity needed the culture of the Renaissance so much! I would like to make “Romeo and Juliet” a performance that comes across our time - so that Shakespeare is heard ... "

Comments on the play ROMEO AND JULIET

Romeo and Juliet| Left a comment: Object not found (2019-04-19 at 17:50)

The tragic and breathtaking story of “Romeo and Juliet” makes the viewer plunge headlong into the bright emotions of the main characters... After watching this performance at the Nikitsky Gate theater, my heart simply screamed with delight and beauty of both the actors themselves and productions in general!! How each role was superbly played by such talented and VERY charismatic actors
Personally, I was incredibly impressed by the performance!! This is exactly what is called - professionalism!

"Love for all ages..."| Left a comment: Maria Fedosova (2019-01-06 at 07:30)

I liked it VERY MUCH! First of all, it is worth noting the theater’s careful attitude to William Shakespeare’s text. As for the acting, here it is always 5+. I especially liked Mikhail Ozornin (Romeo) and Sandra Eliava (Juliet). Mark Rozovsky was able to almost tangibly emphasize the extreme youth of the main characters of the tragedy, otherwise usually the phrase: “She is not yet 14 years old” is just words and nothing more. Here the characters literally grow up before our eyes under the influence of love. The performance is a breeze to watch, despite the fact that it lasts more than 3 hours. Overall, I had a lot of fun!

Romeo and Juliet| Left a comment: Matalytskaya Anna (2018-03-10 at 22:18)

The whole family attended the premiere showing of the play "Romeo and Juliet" at the Nikitsky Gate Theater.
The performance is magnificent! I haven't had so much fun with a classic in a long time!
For the first time in my life I felt that Romeo and his friends were 16-year-old mischievous boys, and not experienced men. Juliet is wonderful!
Very interesting dynamic scenery.
The performance looks very easy, in one go!
Many thanks to Mark Rozovsky! We love his wonderful, cozy theater very much. We watched a lot of performances, and they all leave an unforgettable impression!

Romeo and Juliet| Left a comment: Mila_M (2018-03-09 at 10:54)

The English playwright William Shakespeare, who was born in 1564, wrote the brilliant tragedy “Romeo and Juliet”. On March 5, the final rehearsal of this performance took place at the “At the Pokrovsky Gate” theater. The head of the theater, Mark Rozovsky, introduced the audience to the creators of this production, noted that the music of the great Tchaikovsky would be played, and wished the artists and spectators a successful run.
Everyone knows this sad story of crazy passion, love and death. The theater artists were able to show all the storm of feelings boiling in Verona. The performance captivates from the first minutes. Igor Klimov perfectly prepared the fights and fencing, the servants and the main characters showed amazing mastery of fighting techniques and swords. Everything on stage was real. Choreographer Anton Nikolaev decorated the performance with dances, giving the flavor of the 4th century. Evgenia Shultz made the performance colorful, all the costumes of the characters exactly matched the spirit of this story. Juliet's outfit changed several times, I really liked it. Alexey Porubin made the performance rich in sound at the level of modern blockbusters. The work of Alexander Kuznetsov, the lighting workshop, was invisible, which means everything was excellent, harmonious and in moderation. Bravo to all Mark Rozovsky's assistants!
The artists were wonderful. Their performance kept the audience in suspense for the entire three hours. We laughed and cried, worried and rejoiced. Impossible to mention just one or two, great points to all!

Mark Grigorievich, you have a beautiful theater, interiors, furnishings, and staff. Live long and further prosperity to your brainchild.

Romeo and Juliet is Shakespeare's first tragedy in the strict sense of the word. So for students of Konstantin Raikin, “Romeo and Juliet” became the first performance on the big stage of Satyricon. The “first” always contains its own charm, but at the same time the obligatory inexperience, which, however, is also not without charm.

This is not the first time that Raikin has given the opportunity to very young actors to appear on the Satyricon stage in the best roles of the world repertoire. By the way, Romeo and Juliet were already among them. Almost 15 years ago, then-beginners Natalya Vdovina, Denis Sukhanov, Grigory Siyatvinda acted out a Shakespearean tragedy, as if on the square of old Europe, framed by luxurious palaces and arcades. The costumes then were entirely Renaissance, giving the young figures of the actors the greatness of the people of the Renaissance.

Today everything has changed. Instead of the narrow streets of Verona, there is a huge velodrome, with the ease inherent in video projections, transforming either into an amusement park or into a monumental tomb. Instead of elegant suits - modern teenage outfits. Instead of graceful manners - sometimes the excessively vulgar behavior of cocky street punks. Even the title is gone: instead of the traditional “Romeo and Juliet” - the enticing “To Die of Love...”.

The only things that remained unchanged were Boris Pastrenak’s translation, the performance’s overwhelming musicality, and the audience-shattering enthusiasm of the very young actors who had “grabbed their way” to the big stage.

Although everything begins decorously and strictly - with a choir singing behind a tulle curtain, where all the future participants in the Verona events carefully sing the familiar text of the beginning of the tragedy. True, the conductor (aka the Prince of Verona) will not be able to restrain his mischievous charges for long, and now the calm overture will be replaced first by a cheerful brawl, and then by street battles without rules and mercy.

In this new Verona, young people are much closer to cycling sports than balls. Bikers against bikers - this is how the confrontation between Montagues and Capulets turns out in the 21st century. And it’s not just the guys who are embittered here—the girls here are much more dangerous. Their “demonstration performance” at the Capulet reception turns into a complete fiasco for the male representatives - everyone is defeated.

And Juliet is no exception to the rule - small, sharp, in an elongated sweater she feels much more confident on the streets than in the ballroom. Of course, the dress offered by her mother and high-heeled shoes make her admire herself for a moment, but now the shoes have been kicked off, worn-out sneakers are on her feet again, and her luxurious long hair is again hidden in tangled strands under a bicycle helmet. Maria Karpova in this role is a difficult child. Her whole love for Romeo (especially against the backdrop of her acute reluctance to communicate with Paris) looks childish “out of spite.” When this “prickly” animal is driven into a corner, tragedy occurs. If there were no prohibitions, there would be no love.

Danila Steklov's Romeo is a match for her. An even bigger child, reminiscent of Fonvizin’s Mitrofanushka, wanting everything at once. One refused, but the other agreed! So, we will love her. Low, still breaking voice; the appearance of a child’s much-loved home, who has an “obligatory” grandmother with pies and borscht; the manners of a well-mannered boy trying to get rid of this upbringing to maintain his image - this is how Romeo turned out to be on the satiricon stage.

And these children, by the will of an incredible number of coincidences, met and decided that they loved each other. And having agreed on this, and, apparently, having seen enough of the melodramas, they decided that they could not be happy - and they died. Although, it would seem, what prevented these particular children of the 21st century from riding their bikes and going far, far away? No answer.

Neither the characters, nor the actors, nor the director have an answer. The special effects, of course, were wonderful, but there was no tragedy in the life of the bike bikers against their backdrop - just childish stupidity, for which one would rather scold, rather than sympathize. Is it true that perhaps after 25 you won’t be able to understand the suffering of teenagers? But some teenagers who were sitting in the auditorium were sniffling their noses and smearing tears down their cheeks by the end. This means that for a long time there will be someone coming to Satyricon to die of biker love...