#Hlestakov

[rudyroth79]

”Revizorul” de Gogol la Teatrul Koliada din Ekaterinburg – cronică de teatru de Gheorghe Miletineanu

”Revizorul” de Gogol la Teatrul Koliada din Ekaterinburg – cronică de teatru de Gheorghe Miletineanu

Teatrul Koliada (numele se pronunță cu accentul pe ultima silabă) este un teatru particular, care funcționează ca o organizație necomercială în orașul Ekaterinburg (într-o vreme orașul se numea Sverdlovsk). A fost înființat la 4 decembrie 2001, dată care s-a nimerit să fie ziua de naștere a întemeietorului său, Nikolai Vladimirovici Koliada. Acesta îi asigură pe cei care vor să-l creadă că nu…

[cejna]

Nikolay Vasilyeviç Gogol'un toplumsal yergi kitabı: Müfettiş

Nikolay Vasilyeviç Gogol’un toplumsal yergi kitabı: Müfettiş

Modern tiyatroda çığır açan Müfettiş, Gogol’ün keskin zekâsıyla hiciv yeteneğini harmanlayan başyapıtı. Rus taşrasındaki bir ilçeye uşağı Osip’le birlikte gelen Hlestakov, onu her an Petersburg’dan gelmesi beklenen müfettiş zanneden ilçe lideri ve memurların otorite kaygısından istifade etmeye başlar. Komik tesadüflerle her gün daha yakından tanıdığı ilçe halkı ve bürokrasisinin neredeyse tüm…

[writemarcus]

Perhaps it was written in the stars that some stars burn longer and brighter than others. Such is the case for Michael Urie, who is making yet another star turn off-Broadway in the Red Bull Theater revival of "The Government Inspector," now in production at the Duke on 42nd Street Theater.

A satirical farce penned by Nikolai Gogol, an influential Russian-Ukrainian dramatist who challenged social mores alongside other well-known literati Fyodor Dostoyevsky and Anton Chekhov, the recent remounting of the late writer's rollicking 19th-century comedy of errors which mocks the all-encompassing political corruption of the Tsarist Imperial Russia feels more like a scathing indictment of the current political climate; a burlesque coup de grâce of the twilight of liberal American Imperialism in the age of Donald Trump, impending war and variable consumer debt hangover.

Besides the current outing of "1984," playing a few blocks away on Broadway, the endless parallels to our real-life news cycle and Gogol's pointed commentary on régime and systemic oppression alone make this regional theater favorite the most urgent show of the season. Not bad, considering this chestnut was originally published in 1836.

Updated by celebrated American playwright and screenwriter Jeffrey Hatcher, this topsy-turvy though faithful rendition of Gogol's romp deliciously highlights the ulterior motives of otherwise two-dimensional characters, underscoring the elements of a great political satire, which is, after all, a minuet between off-the-wall rib-tickling fracas and barbed social commentary. On a gorgeous set designed by Alexis Distler, which is composed of two tiers and three rooms all behind a cavalcade of a scarlet red curtain, the play unfolds. The plot is simple.

Michael Urie, whom recently took home the 2017 Obie Award for Performance for his previous appearance in "Homos, Or Everyone in America" at Labyrinth Theater, depicts Ivan Alexandreyevich Hlestakov, an unemployed dandy fop and former minor civil servant from St. Petersburg who left the comforts of his home to write and publish a memoir.

Behind in payment, he and his long-suffering footman Osip (played by chameleon character actor Arnie Burton) are moments from being removed from the far-flung country village inn in which they seek refuge. Impoverished and suicidal, Ivan's narcissism is the only thing that stops him from going through with it; his ego knows zero bounds as indicated by the mirror he gazes into as he tries to execute himself. Well, that and unexpected knock on the door.

Earlier in the play, the citizens of this unnamed provincial Russian town (and by extent, the audience) have come to understand that the title character in question is in the area incognito, with the intent on punishing those abusing their power or those that seek to topple the Kremlin from inside. With major aspirations, the town's mayor, Anton Antonovich (played by Michael McGrath), is keen on finding the régime's superintendent and becoming allies by any means necessary. However, according to local intelligence, Ivan is believed to be the man in question.

Offered a wad of rubles, supper, sleeping quarters and a party in his honor, Ivan and Osip get more than what was bargained for and thus begun the journey. But the journey is a lot more psychological than it lets on: By all accounts, each character in the show is more or less a moral monster incapable of camouflaging their degeneracy. Nor is this rogue gallery of deplorables savvy enough to investigate the hollowness of their own ethical infertility, indifferent to concealing their debauchery, even in the open. Classist impertinence, insatiability, bribery, money laundering, embezzlement, sexual harassment, infidelity and the violence against the people are just some of the many vices.

Under the clear-cut direction of Jesse Berger, founding artistic director of Red Bull Theater, textually, this rather straightforward comic delight buzzes with the electricity of vaudeville and the lunacy of commedia dell'arte. It also helps that this production benefits from solid casting by Stuart Howard, with whom should be compensated accordingly for churning out one of the biggest success for the company in the last decade (Mary Testa, Michael Urie, Talene Monahon, Arnie Burton, Michael McGrath and Stephen DeRosa are all impeccably cast).

As an ensemble, it's difficult to conjure an equal as dynamic as this one that is currently in production; all of the thespians appear to be very sync with one another, something that is beyond indispensable for such material. Given Berger's experience, this production of "The Government Inspector" is an atypical, low-stakes, off-Broadway gem that runs like a fine-tuned Swiss watch, with great precision and class.

With exquisite Hair & Wig Design by Dave Bova and radiant costume designs by Tilly Grimes, much of the character work by the troupe of actors was executed seamlessly. Nonetheless, you couldn't ask for a better coterie of actors: Stephen DeRosa as the backslapping Hospital Director who may or may not be having an affair with his crackpot doctor (played by James Rana); Arnie Burton doubles as both Ivan's valet and the scene-stealing, gossip-churning, letter-reading Postmaster.

As Marya, Talene Monahon invokes riotous laughter as The Mayor's morose, Pushkin-reading daughter with a penchant for perversity and throwing nuclear explosive tantrums. A Broadway comedy icon of sorts, Michael McGrath burrows under the skin with tons of social commentary as slow-witted The Mayor.

And then there's Michael Urie, a monsoon of cartoonish puerility, bringing to mind the elasticity of Charlie Chaplin, the nonchalance of Buster Keaton, the screwball woozy of Kevin Klein and the offbeat absurdism of Steve Martin.

But perhaps the performance to watch is the subtle genius of veteran actress Mary Testa, who plays Anna Andreyevna, The Mayor's enthusiastically domineering wife. Relishing every single line with gusto, the underrated actress-singer is lavish in her presentation, a country bumpkin masquerading as a highborn elitist impersonating a sophisticate. The results are disastrous and laugh-out-loud hysterical in the execution of lines like, "Mine was a cultured upbringing. We had a book, and my mother whistled." SNL writers have not written lines this funny in nearly a decade.

With "The General Inspector," the Red Bull Theater has achieved a rare accomplishment by presenting an archaic and timeworn, transcontinental play in a manner that both honors the original work and doesn't give the impression that the play is a museum piece.

Think of the early work that playwright David Ives had executed in regards to 18th Century French comedies or what institutions like the Encores! concert series at New York City Center has done for musicals.

"The Government Inspector" runs through June 24 at Duke on 42nd Street Theater, 229 W. 42nd St. in New York. For tickets or information, call 646-223-3010 or visit http://www.dukeon42.org/

[newyorktheater]

  The vain, reckless son of a rich man is suddenly thrust into power by a venal group of citizens marked by their “ugliness, stupidity, greed, cowardice, corruption and sheer unpleasantness.” That’s the premise, more or less, of Nikolai Gogol’s 1836 play “The Government Inspector,” as interpreted by Red Bull Theater’s broad, bawdy production.

What saves this play from a depressing relevance is the phenomenal physical clowning by Michael Urie.

Michael Urie entered into pop culture consciousness as the catty fashion editor’s assistant Marc St. James in the TV series Ugly Betty a decade ago, but the Juilliard graduate has proven with each successive New York stage role that he was born for theater — The Temperamentals, How to Succeed in Business, Homos or Everyone in America, Show for Days, and especially Buyer and Cellar, the play by Jonathan Tolin in which he plays every part, including that of Barbra Streisand.

Urie is certainly not by himself in “The Government Inspector.” Every one of the 14-member is positively vaudevillian in their portrayals, a testament not only to their own talents but to that of director Jesse Berger. But I was struck by Urie’s singular gift for physical comedy, which I don’t remember seeing from him before — gracefully and athletically bumbling around the stage drunk or suicidal, or full of lust or greed.

Urie portrays Ivan Alexandreyevich Hlestakov, a drunken, whoring wastrel who was fired from his job as a low-level bureaucrat and travels through two-bit towns in 19th century Russia spending his father’s money. The officials and administrators of the particular town in which he is at present visiting get the false intelligence that he is a Government Inspector rooting out corruption and incompetence. They do all they can to win his favor – they wine him, dine him and incessantly bribe him.

The school principal uses as bribe money what he was going to use to buy new books for the school board meeting, but he becomes philosophical: “They can burn old books just as easy.”

The townspeople are even dumber than they are corrupt – it’s a town, as the mayor’s wife points out, “where people eat soup with their hands.” The wife (portrayed by the extravagantly bedecked and hilarious Mary Testa) thinks herself above the rubes with whom she is forced to associate: “Mine was a very cultured upbringing. We had a book, and my mother whistled.”

Her husband the mayor (Michael McGrath at the performance I saw, since replaced) is certainly dumb – given the ceremonial hat to wear, he puts on the hatbox instead – but he may be the only one even more cruel and corrupt. Before he curries favor with the false inspector, his calendar for the day (as read by a minion) consisted of: “Evicted the corporal’s widow. Had the corporal’s widow jailed for vagrancy. Flogged the corporal’s widow.”

Their daughter Marya, as Hlestakov puts it, “talks like she wears a chastity belt, but she acts like she knows a lot of locksmiths.” Her mother chastises her for her blunt language. “Men don’t like a woman with a tongue like yours” she says.

“Oh, really? Ask around.”

Such banter is courtesy of the 2008 adaptation by playwright Jeffrey Hatcher, which is so consistently funny that he’s excused for adding a twist at the end that doesn’t make very much sense. After all, so little in the world makes much sense these days that The Government Inspector feels almost as much documentary as farce.

The Government Inspector is on stage until August 20, 2017.

Tickets and details

The Government Inspector Review: Michael Urie Triumphs Once Again, as Venal Bureaucrat The vain, reckless son of a rich man is suddenly thrust into power by a venal group of citizens marked by their “ugliness, stupidity, greed, cowardice, corruption and sheer unpleasantness.” That’s the premise, more or less, of Nikolai Gogol’s 1836 play “The Government Inspector,” as interpreted by Red Bull Theater’s broad, bawdy production.

[biletero]

Piesa lui Gogol surprinde panica ce cuprinde un orăşel de provincie atunci când se anunţă vizita unui revizor. Primarul corupt (George Mihăiţă) îşi intimidează subalternii la fel de corupţi, îndemnându-i să mintă şi să mituiască revizorul, pentru a acoperi lipsa de implicare în bunul mers al oraşului, precum şi folosirea în interes personal a banilor primiţi pentru infrastructură şi dezvoltare. Comicul intervine când beţivii oraşului îl confundă pe datornicul Ivan Hlestakov cu revizorul şi îl acoperă cu daruri, bani şi favorurile soţiilor şi fiicelor lor. Saptamana Malaele - Revizorul - 30,31 iulie 2017 Bilete: http://bit.ly/2tAIREl http://bit.ly/2ua4cl9

[sillypersonagarden]

Repost from @tatavlasahne • Tatavla Sahnenin Yeni Dijital Oyun Okuması: Müfettiş 20.03.2021 Cumartesi 20:30 Not:Oyunumuz ücretsizdir.Katılmak için tiyatrotatavla@gmail.com adresine isim,soyisiminiz olduğu bir mail atmanız ve mail konu başlığına ‘Müfettiş ’ yazmamız yeterlidir. Gogol" Komedya da tutkular vardır ;onların kaynağı belki de komiktir. demiş " Tutkularımız bizi sürükler. İyiye mi ? Doğru olana mı? Yanlış olana mı? İçimizde ki müfettiş belki de tutkularımıza yön verecek. Kendimize tüm içtenliğimizle gülmeyi başarabildiğimizde belki de güzel olana doğru Yazan: Nikolay Vasilyeviç Gogol Çeviren Melih Cevdet Anday - Erol Güney Yöneten:Arzu Suriçi Kireççi ANTON ANTONOVİÇ Kaymakam :Eraslan Sağlam ANNA Kaymakamın Karısı :Tuba Sağlam MARİYA Kaymakamın kızı : Şebnem Aktay LUKA LUKİÇ Milli Eğitim müdürü :Murat Akbulut AMMOS Yargıç: Orhan Bak ARTEMİ :Utku Çetin İVAN KUZMİÇ Posta Müdürü: Ömer Efe Dağ DOBÇİNSKİ - BOBÇİNSKİ: Mehmet Emin Kaya HLESTAKOV Müfettiş: İsmail Suat Öztürk OSiP: Efe Yazgan LUKA LUKİÇ Karısı :Dilek Sağır Jandarma: Cihan Oğuzhanoğlu MİŞKA evin hizmetçisi :Sıla Koca https://www.instagram.com/p/CMpDQBHgvl1/?igshid=1g9d3tfegxo2l

[biletero]

Piesa lui Gogol surprinde panica ce cuprinde un orăşel de provincie atunci când se anunţă vizita unui revizor. Primarul corupt (George Mihăiţă) îşi intimidează subalternii la fel de corupţi, îndemnându-i să mintă şi să mituiască revizorul, pentru a acoperi lipsa de implicare în bunul mers al oraşului, precum şi folosirea în interes personal a banilor primiţi pentru infrastructură şi dezvoltare. Comicul intervine când beţivii oraşului îl confundă pe datornicul Ivan Hlestakov cu revizorul şi îl acoperă cu daruri, bani şi favorurile soţiilor şi fiicelor lor. Saptamana Malaele - Revizorul - 30,31 iulie 2017 Bilete: http://bit.ly/2tAIREl http://bit.ly/2ua4cl9