Two on a swing plot content. William Gibson - two on a swing

This July I had the opportunity to see the obvious and incredible.

Kristina Orbakaite on theater stage! Doesn't sing. Sometimes, however, she dances. She does it well. Incendiary. And most importantly, that’s how it’s supposed to be according to the role. main character- dancer. Or he thinks she can dance.

Orbakaite rarely plays in the theater. Last time that was fifteen years ago. But Galina Volchek made her an offer that she couldn’t refuse. And the actress-singer herself, it turns out, has long dreamed of the Sovremennik stage.

Besides, the play is like that. Famous. Iconic.

Especially for “Contemporary and his artistic director.” “Two on a Swing” was the first production by Galina Volchek as a director. In 1962, Tatyana Lavrova and Mikhail Kozakov played in the play. And in general, staging a play by an American author was quite a big deal in those days. a daring act. In a country where there was no sex, it was somehow not customary to publicly tell stories about divorces, open relationships outside of marriage... and the ending... not to say that the ending was very optimistic, dubious, non-specific. Not a Soviet, let's say, ending.

And yet the play lived in Sovremennik for almost thirty years. Artists and actresses changed, but he lived. Then he disappeared from the repertoire for some time. “I was resting,” Volchek explained.

And in 2015, she returned to him with new heroes - with Chulpan Khamatova and Kirill Safonov. And again it was sold out. But this season Chulpan took a sabbatical from the theater.

And the artistic director of Sovremennik had to think for a long time - who will now play the main female role - Gitel?

And as always, the master of experiment Galina Volchek made an unexpected decision.

The actress will not be from the theater. From the outside.

Orbakayte!

And then, apparently, everything coincided. And how she was amazed by the girl artist in the film “Scarecrow”, and Christina’s current career as a singer-dancer, and the desire to pull her out of show business for a while and give her the opportunity to open up in a different way.

Maybe she should be like this - Gitel?

I didn’t watch the performance with Chulpan. It's difficult to compare. But if we talk about the play, then Orbakaite is in some ways even more suitable for this role. It seems to me that men never leave the heroines of Chulpan. And male actors always - perhaps against their will and role - begin to experience such special tenderness...

And Orbakaite’s heroine is a little wild, a little shy, a little simple-minded... Yeah, this is the case - when the complex is in the simple. And everything is possible.

The main male role is still played by Kirill Safonov.

The whole performance is just the two of them on stage. And oddly enough, they hold the hall for three hours.

Although in such performances-relationships between the characters there should be some kind of “spark” or “chemistry”... and it seemed to me that there was little of it, almost none... The story is about love. About the impossibility of love. And that it is also impossible to live without her. But often there was a feeling - as if they had not played out, had not “sung together”, had not “intertwined” yet... and were simply repeating the words of the role.

And although... - I went without any special expectations and thought - it would be much worse... But it turned out - quite, completely. Maybe wise Volchek is right, maybe the viewer will accept her experiment favorably. They only tried it in the summer; the next performances are expected in October.

And in terms of commerce - sell-outs - right - there will certainly be interest in this performance.

On May 20, within the walls of the Theater on Serpukhovka, the premiere of the play will take place, directed by Mikhail Rakhlin, director and actor of the Moscow Art Theater. Chekhov.

This spring we will present to the Moscow audience the play “The Mysterious Weekend,” based on the play by the famous Canadian playwright, who has published more than 40 plays over 26 years, which are regularly staged in theaters in Canada, the USA, Great Britain, Australia and France. Theater critic Walter Learning once wrote: “If it is true that laughter is the best medicine, then Norm Foster is Canada's best purveyor of that medicine!”

The play “Mysterious Weekend” is a production where, over the course of two hours, sincerity and lies, love and intolerance, humor and tears, ambition and fear of changing something go side by side. At some point it may seem that the author, in two acts, decided to ridicule all existing human vices.

The action takes place in the country cottage of one married couple, to whom another comes for the weekend married couple- their old friends. It would seem that everything is there for a wonderful weekend, but over time it turns out that old friends are not friends at all, and when friendship is built on lies and hypocrisy, ridiculous, very funny and extremely stupid situations simply cannot be avoided...

Genre: Comedy

Director: Mikhail Rakhlin

Cast: Alena Babenko, Roman Madyanov, Anna Banshchikova, Vyacheslav Razbegaev.

Happy Birthday, dear Tatyana and Olga Arntgolts!

We heartily congratulate our beautiful Tatiana and Olga Arntgolts, happy birthday! Our most best wishes them on this day! Happiness, health and inspired roles!!

Attention! REPLACEMENT! 04/17/19

April 17, 2019, due to the illness of Lyudmila Artemyeva, the play “Close People” replaced for a comedy "STRANGER"(starring: Alexey Chadov, Agniya Ditkovskite, Asya Borisova, Vladimir Bolshov)

Gibson William

Two on a swing

William Gibson

Two on a swing

ACT ONE.

Picture one.

Both rooms.

Early September twilight. Street noise can be heard through the open windows of both rooms. Gitel's room is empty. Jerry is in his room sitting on the couch with a cigarette in his mouth and running his finger along the page of the phone book lying on the floor near his feet. Jerry is in his early thirties; he is very tall with an attractive appearance. There is a hidden sadness in him, and underneath it there is an even deeper hidden anger. He is dressed modestly, even casually, but in this wretched setting his suit seems almost exquisite. The bed on the couch is not made, there is a typewriter on a stool, some clothes are thrown on top, an elegant open suitcase is lying on the floor that has not been swept for a long time, in the corners, near the baseboards, there is an accumulation of garbage and cobwebs.

Having found the desired number in the book, Jerry dials it. The phone rings in Gitel's room. After the fourth ring, Jerry hangs up. At the same time, in Gitel’s room you can hear the key turning in the lock. Gitel runs in with a grocery bag in his hand, rushes to the phone, and grabs the receiver.

GItel (out of breath): Yes, hello! (pause) Oh, damn! (hangs up)

Gitel is dark and thin; it is difficult to determine how old she is. She, perhaps, cannot be called pretty - her appearance is too peculiar. She is nervous, rude, but with a special charm, which she owes to her ineradicable cheerful energy. She is wearing shoes without heels, a wide multi-colored skirt, a sweater, and all this is unbecoming and sits somehow awkwardly. Her movements are impetuous and tensely fussy, like a bird on the ground. Gitel and Jerry are each at home, minding their own business. Jerry, having placed the suitcase on the couch, takes out clothes - a great jacket, a great suit, a great coat - and hangs them on a hanger - a round stick mounted across the corner. When he puts his shoes under the rack, one end of the stick slips off the support and all the things fall on his head.

JERRY: Uh, d-dog! (throws everything on the floor and goes into the kitchen, from where he brings a wooden block, a hammer and nails. Somehow he nails the block and, having put the stick in place, begins to hang things again - this time the stick holds.)

Meanwhile, Gitel goes to the kitchen with a grocery bag, stops on the way in front of a mannequin and critically examines the garishly bright bodice pinned on it. He stands motionless for a few seconds, then with his free hand he breaks off the collar and reattaches it in a new way. Stepping back, she looks at her work, disgust on her face.

GITEL: What an abomination! (She throws the pins on the floor and goes into the kitchen; she can be seen pouring milk into a saucepan and putting it on the gas stove. She puts the rest of her purchases on the shelf and in the refrigerator.)

Jerry, having finished with the hanger, looks thoughtfully at the phone, then sits down on the couch and, looking at the phone book, dials a number. The phone rings in Gitel's room.

GITEL (runs up to the phone after the second ring, when Jerry is about to hang up): Yes, hello?

JERRY (his tone is exquisitely polite, but, completely regardless of what he says, there is a dispassionate irony in it): Gitel Mosca, please.

GITEL: I'm listening. Who is this?

JERRY: This is Jerry Ryan. I saw you among the as yet unidentified individuals at Oscar's yesterday. He and I are from the same city, we met once, although we can’t say we were on friendly terms...

GITEL: Yes, yes?

JERRY: ...probably because I'm too long-legged. Height - one hundred eighty-seven centimeters. (after waiting, he adds for clarification) And a red beard...

GITEL: Oh, you’re the one in the beret who was silent all evening!

JERRY: I haven't found a beret in the stores that can tell jokes. Yesterday I accidentally heard that you want to sell a refrigerator, maybe I’ll come take a look?!

GITEL: On the refrigerator?

JERRY: For starters, at least on him.

GITEL: But it's not a refrigerator, it's an icebox, just an ice chest.

JERRY: So much the better. Saving electricity is a fine example of American practicality. I can be with you in...

GITEL: Well, I already gave it away!

JERRY (after a pause; this surprise upset his plans): That's it! Not very kind of you.

GITEL: I just helped some guy carry it home. I have no idea who he is. Sophie sent it, and I gave it away for free, just to get rid of this stupid box. Why didn't you tell me anything yesterday?

JERRY: Yesterday I decided that I have nothing more to do in this life.

GITEL: What?

JERRY: And today I changed my mind and start new life. In a word, today is a great day. First, I decided to look at you.

GITEL: What should I do when I’ve already given it away...

JERRY: I see.

Pause. Both are waiting.

Yes. Well thanks, sorry.

GITEL: Please, but...

Jerry hangs up.

Fu, damn it! (also hangs up)

Jerry sits in gloomy thought, then takes out a pack of cigarettes, but it is empty. He goes to the window to throw it out, on the way he hurts his foot on the couch and viciously kicks it with his foot; the couch hits the wall. The stick on which the clothes are hanging jumps off the support and everything falls to the floor.

JERRY: Wow, dog! (grabs a stick, wants to break it on his knee, the stick just bends and, slipping out of his hands, hits him on the head with one end. Again he grabs the stick, again tries to break it, but cannot, throws it on the floor and, accidentally stepping on the end of the stick, touches it with his other foot and almost falls. Struggling with the stick, he rushes around the room, not knowing how to get rid of it, and his rage is funny, but suddenly he hits the window glass with his fist. This is no longer funny - the glass shatters into pieces He stops and gloomily contemplates his fist, his room, his internal state. Slowly moving away from the window, he trips over the phone standing on the floor. Looking at it thoughtfully, he picks it up and dials the number)

Gitel begins to take off his shoes. But at this time the milk is boiling over in the kitchen. She jumps up and runs to the kitchen, but is stopped halfway by the phone ringing.

GITEL: Crazy! (doesn’t know what to do, then rushes to the phone and picks it up) Wait, I’m boiling there! (rushes to the kitchen, turns off the gas and returns) The milk ran out, the whole stove was flooded, damn it. Yes, hello!

Gitel sits with his eyes closed and the pipe pressed to his forehead.

Gitel puts the phone to his ear.

Hello, is anyone there?

JERRY: No.

GITEL: Huh?..

Jerry hangs up.

Hey! (looks at the phone, then puts it down and, waving his hand in annoyance, goes into the kitchen. He dilutes the hot milk in the saucepan with cold milk from the bottle; stopping on the threshold, takes a sip or two and suddenly runs to the phone)

“Two on a Swing” is a special performance not only for the Sovremennik Theater, but also for its director, Galina Volchek. It was with this production that her directorial career began many years ago. It's hard to believe, but more than half a century has passed since then! But it turns out that during this time little has changed in human relations. People still lack warmth and kindness.

About the play “Two on a Swing”

“Two on a Swing” is not a repeat of a performance fifty years ago. This is absolutely new production. The focus is still on the story of a huge city that personifies loneliness. About human relationships and feelings that get confused as quickly as a swing swings. It’s just that it’s told completely differently. As required modern society, tired of aggression and pain.

Actors and director

Galina Volchek is a director who needs no introduction. During her life, she staged dozens of performances that became Sovremennik’s golden treasure and theater classics. The most “recent” among them are “The Gin Game”, “Murlin Murlo”, “Three Sisters”, “Hare. Love story" and others. Galina Borisovna puts her soul into each of her work, paying special attention to the selection of actors who could convey feelings, emotions, and moods the way she herself sees them.

There was no doubt about who would play the main female role in the play “Two on a Swing” - no one could “reincarnate” in Gitel better than Chulpan Khamatova. But they were looking for a new Jerry for a long time - in the end, Galina Volchek decided to invite Kirill Safronov.

When the play had already been introduced into the repertoire and the premiere shows had died down, Chulpan Khamatova decided to take a sabbatical. And then a very unexpected replacement occurred - her place was taken by Kristina Orbakaite, in whom Volchek was able to discern acting talent. In 2018, “Two on a Swing” is a performance by two actresses at once, despite the fact that female role there is one in it.

How to buy tickets for the play “Two on a Swing”

It doesn’t matter how many months or years have passed since the premiere - the performances staged by Galina Volchek at Sovremennik always sell out. It’s not even worth mentioning that buying tickets for “Two on a Swing” was, is, and will continue to be very difficult for a long time. We are ready to help you avoid queues at the ticket office and dealing with scammers who offer an “extra ticket” at exorbitant prices. By contacting our company, each client can count on:

• accompaniment of a personal manager who will help you choose best places in any price category and will answer all your questions;
• the ability to place an order online or by phone, as well as pay for it using any in a convenient way: by card, bank transfer and even cash upon receipt;
• free courier delivery orders in Moscow and St. Petersburg;
• discounts for simultaneous purchase of more than 10 tickets.

Discounts are also provided for those who have gone from being an ordinary customer to becoming a regular customer! We especially value and love such people, and are always ready to present them with pleasant surprises.

Needless to say, the premiere of the play “Two on a Swing” excited theater world Moscow. Critics, experts and just spectators expected a lot from the production - and all these expectations were truly met! But can you trust reviews and testimonials? After all, you need to “feel” this touching story yourself!

Review taken from the official website of Grigory Antipenko with the permission of the author. Posted by Fifine November 1, 2012 Two on a swing. Well, another premiere is behind us. And although the impressions of what I saw yesterday were very mixed, something in my soul woke up and began to stir immediately after the performance. Many thanks to the director for not being afraid to take on the production of such a psychologically complex play. Thank you for coming out auditorium, I suddenly realized - it turns out that I’m not the only one who feels lonely in this world, I’m not the only one who wants someone nearby who will protect and warm me in Hard time. And it’s not just me who often turns out to be a chimera or even just a traitor in the end. I think that the performance will not have an easy fate, since the material chosen is, to put it mildly, not of an entertaining genre. This is in Soviet times plays about life “there” were popular. Now such productions are perceived as something boring and tedious. Moreover, the theme of the play itself is very global and forces the brain to strain, and this is not in our favor today. Loneliness, the desire to love and be loved, the desire for human warmth, betrayal... It is difficult to show all this in those two years half an hour that the performance lasts. And I was once again glad that I had time to read the play, otherwise much would have remained incomprehensible to me. Makes the most ambiguous impression final scene, when Geri says goodbye to Gitel and she screams into the phone: “I want you to always remember - I love you. Remember that last words The words I told you were “I love you.” And Gitel hangs up sobbing. After that, Jerry also hangs up and leaves. Of course, he is worried and Antipenko plays it off perfectly, but in essence Jerry is simply betraying, abandoning the girl who saved him, who came to his aid when he was on the verge and was about to commit suicide. And he leaves this girl on the verge too. In the play, the accents are placed more evenly and psychologically correctly - Gitel understands that the relationship with Jerry has changed her and is grateful to him for this. Jerry leaves for the woman he truly loves, without offending the person who supported him in difficult times. I also didn’t see Jerry’s uncertainty about what he wanted, initially shown in the play. Antipenko's Jerry knows perfectly well why he is calling Gitel and his hesitation - to drink cola or beer, to stay the night or not - is rather a way of flirting with the girl he likes. The scene at Gitel’s house, where she brings Jerry after the first date, is not at all clear. Jerry is very persistent, and Gitel refuses him, taking such inviting poses that there can be no doubt about her desires. On the one hand, everything is very funny and sweet - two young people play lovers before moving on to more serious actions. On the other hand, the girl’s behavior is at odds with what she wants to convey to young man. In general, in the first act everything seemed rather crumpled and chaotic to me. Here is a special respect for Antipenko, who shocked me in the first scene. His Jerry is standing on the windowsill. He wants to throw himself down, but there is so much fear, uncertainty, and desire to be saved on his face. Amazing - I just wanted to run up and hug this suffering man. Here it is completely clear why Jerry called a completely unknown girl who left him her phone number on a pack of cigarettes. The second act for me was strikingly different from the first - a very dynamic action that makes you empathize with these young guys trying to lend a helping hand to each other. Here the characters’ personalities came together into a clear picture. He is so strong, self-confident, cheerful, and she is incredibly fragile and vulnerable, but does not know how to accept the care of others. So, he and she. And, of course, America in the 50s. He is Jerry (Grigory Antipenko) - in the recent past a successful lawyer who ran away from his wife, or even more likely from her rich father who gives his daughter’s husband everything (money, prestigious job), but not allowing him to feel self-sufficient, talented person, which he basically is. Having fled to New York, Jerry tries to prove to himself that he can do just fine without the help of his father-in-law, but is faced with real life, which begins to slip under his wheels. He finds himself alone in a huge city, without work, without the woman he loves and without friends. This is where a fragile, kind, gentle girl appears with funny name Gitel. At first Jerry really wants to play little boy to be pitied, but when he sees that the girl is ready to give her last money to a complete stranger, just to help, he understands how vulnerable this girl is. He will not allow anyone else to take advantage of her kindness and desire to support her neighbor at any cost. Jerry Antipenko has a very strong and integral personality. In the play, Jerry must be afraid of the bar exam - he must doubt his abilities. On stage I saw Jerry, who just needs to want, make an effort and everything will work out. He is a gentle, cheerful, kind and at the same time very complex person. He is open and secretive at the same time. Jerry-Antipenko is incredibly touchingly gentle, but when he finds out about Gitel’s betrayal with the “Beetle”, he turns into a hurricane. Emotions overwhelm him. The artist conveyed this with almost one gesture - fast, sharp, painfully swipe on the door frame as Jerry runs out of Gitel's apartment. Geri-Antipenko remains in New York no longer out of fear of the overwhelming authority of his influential father-in-law, but because he is ready to sacrifice his true love in order to help Gitel. Of course, he can't stand it, and as soon as Gitel no longer needs his help, he new strength that strong, persistent feeling awakens in his wife, which he tried to suppress in himself. But in general, if not for the final scene, which I already wrote about above, Jerry could be called a very decent person. She is Gitel (Tatyana Arngolts) - a young, sweet dancer who, without an engagement, makes do with various side jobs. She's incredible bright man willing to sacrifice himself for the sake of others. At the same time, she completely forgets about herself. Gitel, without hesitation, rushes to the aid of a man unknown to her, simply because he needs support. And this man essentially uses her and then abandons her. Of course, Jerry taught Gitel a lot. She already feels completely differently about herself when they break up. She matured, learned to value herself, and became more stable in life. But all the same, when parting, it hurts her more than Jerry, because he leaves to meet his love, and Gitel is again left completely alone. In the first act, Gitel's character is not entirely clear. Tatyana Arngolts, in my opinion, fusses too much on stage trying to portray the lightness of her heroine. But it turns out a little grotesque. The second act balances out a lot, although, as it seemed to me, the image of Gitel has not yet fully developed. The Gitel in Gibson's play is much deeper than the Gitel I saw on stage. There is room to grow here. America is present in everything. I saw on stage the real America of the 50s with its touching, unique music, its style, with knitted cardigans and faux fur coats, with its fashion for wide trousers with cuffs and long dresses that fit the figure. America is visible even in Jerry’s manner of twisting his hat back on his head (a la Kevin Costner in “The Untouchables”). Hero costumes in pastel colors give the performance an incredible charm and even make you feel the smell of New York. In conclusion, I want to say thanks a lot and to the artists and director for the bright sadness that I took with me after watching the performance. I wanted to be a little Jerry and a little Gitel. Something has changed in my soul and in my sense of the world. This is exactly why you should go to the theater. http://antipenko.com/