The table under the lampshade, around it - passions

The event takes place right on the stage: stands with rows are installed on three sides. Moreover, the viewers occupying two of them are a little envious of those whose seats are opposite one part of the general scenery, which is still closed by the curtain. But it is not known who was more lucky, because in the first row of each of the stands, the artist Larisa Lomakina mounted something from furniture - a sofa with a twisted back, a nightstand or a small commodik. But all attention is to a strong rectangular table under an orange, like an orange lampshade. Judging by the number of chairs around it, it is designed for eight people.

Nabokov's "Event" is designated as a play in prose, written in 1938. Bogomolov, who put it almost a hundred years later, as a dramatic comedy. But quite quickly it becomes clear that the director almost did not depart from the original source. On the contrary, it follows him in almost everything - from the text, the skill of which amazes and bribes, and some phrases rhyme with replicas of heroes from Chekhov's plays, to the appointment of artists for roles. As if the classic of Russian literature wrote on them, today, with Bronn.

Here, for example, the main characters: the artist Troshcheykin is “childish, nervous, transient”: the wonderful St. Petersburg actor Dmitry Lysenkov. He has already worked with Konstantin Bogomolov in the “Shelter of Comedians” on the play “Crime and Punishment”, for which they received the Golden Mask. The wife of Troshcheykin Lyuba is “good”, and the main thing here is “with flax and haze.” It is such that Alexandra the Child appears, to whom more than one main role was given by the Mantis.

And her mother - Antonina Pavlovna - all so neat and "sweet-scattered", somewhat exalted writer-graphomaniac, but without lorgnette (as in Nabokov). This is Larisa Bogoslovskaya, decorated with her organics the former works of the art director Bronnoy. Like Ekaterina Vasilyeva, who acted in the “Event” as Vera, being “softer and more tame” than her sister Lyuba. However, this can be said about almost all the participants of the Event, who, working not for the first year with Constantine, quickly from unknown actors became prominent figures.

Nabokov's "Event" is a thing for gourmets, literary and theatrical. The play is written in an elegant syllable, despite the detective storyline, in general that is simple at first glance: the case takes place in a small German town, among Russian immigrants. Husband, wife and former lover, plus a real one. Due to different circumstances, the relationship between the characters leaves much to be desired. Their sluggish state is violated by unexpected news – Lyuba’s former lover, a certain Leonid Barbashin, who shot his spouses in a fit of jealousy a few years ago, was released from prison early.

- The first shot he hit her in the thigh, she sat on the floor, and the second - a jeek - in my left hand, another centimeter - and the bone would have been crushed, - with some sadomasochistic pleasure the artist Troshchekin reconstructs the events. He keeps shooting, and I'm with an apple like young Tell. At this time, his brother-in-law comes in and falls behind him: you remember him - a huge, real bear. Zagreb, twisted his hands behind his back and holds it. And despite the wound, despite the terrible pain, I calmly approached Mr. Barbashin and how I would fuck him on his face. That's when he shouted - literally I remember: "Wait, I'll come back and finish you both!"

With this news, which is brought to the house in the twentieth minute of action by the current lover of Lyuba Revshin, called by the author “hairy worm” (Rustam Akhmadeev), as under the sword of Damocles, the Russian house and its inhabitants will live for another two hours. Will he come? Kill, won't kill? But not one adultery and criminal intrigue for Nabokov wrote a play and almost a hundred 100 years later Bogomolov on it staged a play. By the way, he himself, while still studying at GITIS on the course of Andrei Goncharov, played the hapless lover of Revshin.

The fragility and balance of marital and not only relationships, disappointment, indifference, other feelings and psychology of people’s behavior in certain circumstances are painted by the author into three acts and not without irony. Mantis explores them in the spirit of psychological theater, not without irony adding to it different colors - grotesque, farce, mysticism. After the family learns about the early release from the prison Barbashina, quietly, as if in the distance, there are sounds of a disturbing nature. However, the musical theme of psychological tension, which, as if designed to amplify such sounds, in the next two acts will not be developed. On the contrary, the second will be held under the languid and sometimes vibrant repertoire of the gull of Russian pop Anastasia Vyaltseva and the star of Russian restaurants in Paris Gypsy Alyosha Dmitrievich.

There will be a lot of funny and funny things waiting for a potential killer, and everyone will show themselves. At the table under the lampshade came to the name day to Antonina Pavlovna (not to cancel them because of some Barbashin) guests. Regardless of the size of the role, the director offered each of them a sharp, memorable drawing, albeit in a minor detail. Marfa (Varvara Sursanova), a grumpy and hunched servant, moving around the house, makes a sound similar to creaking. Madame Vagadumbova (Ekaterina Karpushina) textured, in a strong body blonde in a defiantly fitting dress with the manners of an aging coquette, will be complemented by a talkative Meshayev (Vladimir Yavorsky), a couple of old people - Aunt Zhenya with Uncle Paul (Maria Dudnik, Denis Gromakov). The thin aunt expresses herself exclusively in verse:

Artist, I don't need heroism!

I respect your frustration:

i'm a widow

and not once, but two.

My marriage life was a dark lie

and it was full

death.

I see you're expecting guests?

In another poetic size comically due to seriousness and ridiculous accent to the culprit of the celebration turns and midwife Eleanor Schnap (Alexandra Vinogradova).

A big scene at the table, in the second act - a check for the Bronnaya acting ensemble to work at the school of psychological theater. The test passed on “excellent”: one hundred percent inclusion of everyone, even if the character has a minimum of replicas or not at all. However, it is in this act that the Mantis school of experience skillfully interferes with the school of presentation, reconciling the two branches of the same school.

And at the same time does not lose the atmosphere of the detective genre. Tomb romances with a characteristic gramophone sipin do not put tension. It keeps on a rigid rhythm, and the intriguing ending of each act only strengthens it. The timing (45, 30 and 45) and the tempo of each act are perfectly sustained and complete at the sharpest moment.

In the third act, with the appearance of detective Barboshin (not to be confused with Barbashin), clearly having mental problems, a farce will enter into action. In Lera Gorin, the hero came out demonically comic, which enhanced the effect of a completely unexpected denouement. Especially for those who are not familiar with the play in Nabokov's prose. It is worth it, especially in reading Konstantin Bogomolov.