Nowadays, a spectacle is born, as it is rarely seen in the native scenes – seemingly lustrous and sparkling, performed without showy poverty and kiwisan ersatz. Glamorous as a form, but without being pretentious and to "crush" the content that virtually bridges distances from the airy comedy to profound social satire.
The place of so & # 39; n party for the eyes and the mind is exactly our first national scene. Where at the end of last week "A Fool & # 39; s Day" on the famous piece "Figaro & # 39; s Wedding" by Pierre de Bomarsch is the newest title in the poster.
With the production of director Mihail Petrov (known from the audience mostly as an actor, one of the pillars of the repertoire there), the Ivan Vazov National Theater gives an example of the possible splendor of the real theater – as much of the audience wants. With the game of intrigues, dressing, deception and rediscovery in love and kinship, with exuberance in feelings and victories for undeniable ethical values. with
the beautiful robes of stage designer Elena Ivanova
who demonstrate as a textbook how an "era" costume can be interpreted as a true art. With the dances, live songs and the music of a real "palace" quartet, consisting of George Palikarski, Slav Bistrev, Nikolay Kazakov and Ivaylo Florov. And especially with the excellent castings that make each of the characters a master. Typical and very impressive images create Paraskeva Djukelova as "the preserved", aging Marcellina – a rich creditor who wants to get married; Hristo Cheshmedzhiev as the "pimp" Don Basillio, Gergana Smycharova as the charming Countess Rozina, ignored by her cowardly husband, but subjected to the passion of the shiny page of Kerubino (Pavel Ivanov); the fresh Julia Bocheva as she liked by all the maid Susan, the figure of Figaro …
A well – deserved triumph is the role of Count Almaviva for the young actor Stelian Radev – mimics, plastic, emotional contact with the public, a generous firework gang, everything with the brand of the Creed Theater and his talented teacher Nina Dimitrova, who performs flawlessly here. More economical in the means of expression, more ingrained, but no less convincing, is Figaro by Dimitar Zhivkov – the master of the mono-versions "Mercury" and "Pumpkin". Without unnecessary pathos he draws the thread of social criticism with Figaro's last monologue, a highlight of the performance, in which only the face of the actor is illuminated, because in this case the most influential words are. This monologue,
expose the corruption of power
and the devaluation of values in interpersonal relationships, for which Bomarsh himself had had many problems and even was briefly imprisoned in 1784, and today is worryingly up-to-date, written as if it were yesterday. The director and actress, playwright Anna Petrova, to whom the stage version of the old translation of 30 years and older belongs, has adapted this very slightly. The spectacle actually has two finals – before and after the revolution (big French, sexual, emancipatory, or whatever we want); in the spirit of time (XVIII century), but also universally.
The music is by Lyubomir Denev, choreography by Mariana Krancheva, and the following performances are tonight, 7 and 30 October in the Grand Stage in the National Theater.