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Moscow police opened a criminal case after a complaint from theater and film actor Armen Dzhigarkhanyan, who reported the theft of his passport. About this RIA Novosti said a law enforcement source.

Armen Dzhigarkhanyan himself, who announced his intention to divorce Vitalina Tsymbalyuk-Romanovskaya, who served as the director of his theater, promised that he would invite back everyone who is for recent years was fired or quit because of Vitalina.

“This woman made a mess in the theater, I intend to correct the situation,” the master made a statement.

Have you already been offered to return? - we asked Dana Nazarova a question. The actress, who served in Dzhigarkhanyan’s theater for eight years, broke up ugly - she gave birth to a child, and the contract with her was not renewed.

Haven't called yet. I won’t go to Armen Borisovich with this question. I feel uncomfortable, he has a lot of problems even without me now, including health problems. But if he himself either new director If they invite me, I will certainly return to the theater with pleasure.

The People's Artist himself now assures that his wife hid from him almost all the information about the true state of affairs in the theater. She said about the fired artists (to whom she literally showed the door) that they were leaving of their own free will.

For example, about Armen Borisovich’s favorite Alexei Shevchenkov, she said that he intended to go to Oleg Tabakov. Dzhigarkhanyan was terribly angry with his artists, considered them traitors...

But I didn’t understand what was happening: earlier Armen Borisovich said that I was a wonderful artist, one of the best in his theater, he called me “baby” - and suddenly the contract was not renewed. Now I understand that he simply did not know what was really happening; he was given distorted information,” says Nazarova.

Why does she need all this? It’s very simple: reduce the troupe and instead dramatic performances put on their own musical ones, which is what Vitalina did. After all, every performance is a means of earning money,” says costume designer Margarita Cheres, another woman fired by Tsymbalyuk-Romanovskaya.

Unlike Nazarova, she does not intend to return to the Dzhigarkhanyan Theater. Even if they beg.

I serve in a very worthy place - the Musical Theater. And happy!

They act in films, act in enterprises and are generally satisfied with their lives former artists troupes: Alexey Shevchenkov, and Elena Ksenofontova, and Stas Duzhnikov, and many others. Will they come back? Unlikely.

Armen Borisovich himself is to blame for everything, says Margarita Cheres. - They told him, and smart people, that Vitalina was deceiving. But he waved it off. He renounced everyone who had served him faithfully for many years. And now the reckoning has come.

Meanwhile, from the inside the theater split in two. Some support the ex-director, assuring that “she did everything for the theater and for the sake of Armen Borisovich.” Others hiss that “that’s what she needed: there was nothing to intrigue.”

Today it became known about the raider seizure of the building of the Moscow Drama Theater. According to the wife's representative people's artist USSR Armen Dzhigarkhanyan Elina Mazur TV channel “360”, the theater was captured by the “Armenian group”. The entire management has been removed, the accounting department has been seized, and Dzhigarkhanyan himself is “sitting locked in his office without telephones.” The representative of Dzhigarkhanyan’s wife did not provide any other details.

Marta Cheremnova.

Armen Borisovich believes that he is surrounded by idiots and vile individuals

Armen Borisovich believes that he is surrounded by idiots and vile individuals

Several popular Moscow theaters opened at once another season without their former leaders. “Taganka” - without Yuri LYUBIMOV, Stanislavsky Theater - without Alexander GALIBIN, “Mayakovka” - without Sergei ARTSIBASHEV. The departure of these masters was preceded by noisy conflicts with the artists. Express Newspaper became aware of a new rapidly growing scandal. This time in a team headed by Armen DZHIGARKHANYAN. And if you believe the dissatisfied members of the troupe, the woman is to blame for everything - the current favorite of the 75-year-old elder.

A couple of years ago she got a job with us Vitalina Tsymbalyuk-Romanovskaya, - said the wards Dzhigarkhanyan. - She was offered to become an accompanist in the Ali Baba project, after working on which, she decided to continue working under the wing of Armen Borisovich. It was noticeable: he favors Vitalina. Brave, decisive, not shy to express her opinion, and this despite the fact that she is not even 30.

According to our informants, Dzhigarkhanyan had previously tried to tenderly patronize the young employees he liked. But they often gently made it clear that they were not ready for an affair with the artistic director. They say that he is married and it is inappropriate to start an affair, even if the master’s wife lives in the USA almost constantly. Armen Borisovich nodded his head, but then slyly remarked:

I gave my word to my friend - the famous doctor, academician Badalyan, that if the time comes when I can’t love women, I’ll die right there. Discussing this, the girls giggled among themselves, saying, it’s unlikely that it will be better if famous actor and the director will die in their arms. Tea, not a boy anymore.

But Vitalina was not afraid of the difficulties, they say in the theater. - On the contrary, she herself fought with redoubled force for Dzhigarkhanyan’s attention. And at the same time as his sympathy grew, the appetites of the “garden girl” also increased.

As we found out, the owner beautiful surname Tsymbalyuk-Romanovskaya, came to conquer Moscow from Ukraine. At first she taught at the Maimonides Jewish Academy at the Faculty of World Studies musical culture. And then the director Vladimir Yachmenev recommended her to the Dzhigarkhanyan Theater.

Fetid cesspool

IN lately Armen Borisovich's favorite began to take on more and more important issues, - the artists assure. - No one has any doubts that the ordinary employee of the sound department, who quickly achieved musical repertoire performances, has a colossal influence on the artistic director. And the fact that as many as eight artists, among whom there are people familiar throughout the country, lost their jobs is also Vitalina’s “merit.”

Of course, the question arises: why exclude people from the stage that the public comes to see? But the victims have an answer to this:

The stars have serious demands, and the theater budget is not rubber. It is enough to have only a couple of principals in the troupe, and the audience will still watch the performances. Now such a role has been given to Elena Ksenofontova And Olga Kuzina. Armen Borisovich continues to appreciate, pamper and cherish them. Which of the actors was left behind? Alexander Bukharov And Andrey Merzlikin. Alexey Shevchenkov and his wife Olga. Vladimir Kapustin And Valentin Samokhin. Olga Prikhudaylova and finally Stanislav Duzhnikov, who left the troupe a little earlier - went to the Moscow Art Theater. Chekhov, where his wife works Kristina Babushkina.

Duzhnikov and Shevchenkov finally left the theater, the participants told us “ mighty bunch", who were united by a common scandalous situation. - And the rest are still on the staff - they just don’t play anything, of course, not of their own free will. According to the law, we cannot be fired. We would like to, but they're crap! They even continue to pay us a small salary. At first we were somehow embarrassed by this, but then we realized: the theater has drained so much blood from us that it’s not shameful.

As for the role of Vitalina Tsymbalyuk-Romanovskaya in their conflict with Dzhigarkhanyan, the unemployed artists are categorical:

The gray mouse managed to quickly turn a decent theater into a fetid cesspool. Young artists are afraid of her like fire! They say that rumors about the lively lady have already reached the United States, where Dzhigarkhanyan’s legal wife lives. At one time, Tatyana Sergeevna went to work for hire in Dallas - there she was offered to teach Russian. And recently, having learned that the faithful had fallen under the influence of a young lady, the wife allegedly threw a huge scandal at Armen and almost filed for divorce. Of course, we decided to call the master himself with a request to comment on the situation.

Potassium cyanide for lunch

Hearing what we wanted to talk about, Dzhigarkhanyan became noticeably agitated. He started shouting and confusing his words:

Yes, in our theater there are eight actors with whom we actually parted ways. They and I realized that the birth rate in our country is sharply falling. The master, most likely, is hinting at Andrei Merzlikin and Olga Prikhudaylova. Andrey is already a father three times, and Olga recently gave birth to a son. It is clear that, having become parents, they must not only work hard on the stage, but also raise their children.

In fact, we do not have the right to fire anyone,” continued Armen Borisovich. - For some reason, Soviet legislation is firmly in favor of protecting such people. The state pays me a lot of money, like artistic director theater, but no one asks me if I can fire a person for own initiative. If the actor doesn't want to, he doesn't leave. We have people, I won’t mention their names, who come to receive their salaries right before my eyes. For a long time now they have not earned anything through their labor, but they still receive money.

Here Armen Borisovich is probably hinting at Valentin Samokhin (father of Misha Dyatlov in the TV series “School”). They say he's on last week came to the cashier and collided head-on with his opponent. Both pretended not to notice each other.

Dzhigarkhanyan’s next words shocked us to the core. He finally decided to get personal and give characteristics to his former employees: - Stanislav Duzhnikov worked for us. If you meet this fat idiot, know that he is lying! Big and doughy fool! Alexey Shevchenkov is a vile person. I took him and his wife to the theater. She is not an actress at all and, in fact, was not needed. But I assigned her a salary.

And now Shevchenkov went against me, he says vile stories. You never know what they say about me and Vitalina Tsymbalyuk-Romanovskaya! She musical director theater - and that's it! When I need to separate Mozart from Mahler, I ask her, of course, she is a good professional. Why is she called the second Marina Zudina? Oh, what boring and sad people you are! There is a good joke. "You know that Tchaikovsky- pederast? - they ask the Armenian radio. To which it replies: “Yes, we know, but we love him not only for that!” Tabakov- Well done. Even if Zudina ruins everything and pours potassium cyanide into her husband’s lunch, but this, of course, is not the case, even in this case Oleg Palych has the right to choose the wife he wants. He did so much in the theater!

- And yet dissatisfied artists insist that you and Vitalina are almost driving them into serfdom?- In the theater it doesn’t happen that everyone is Hamlet. IN best case scenario there is one. When, for example, they tell me that at the Taganka Theater Lyubimov took the money and put it in my pocket, I remain on the side of Yuri Petrovich. After all, it was he who gave birth to these people and made them professionals. And this is the most important thing! Play well, then you will eat and drink well. Fight against gossipers, give them something for lunch!

Despite its rather young age and the youth of the troupe members, Dzhigarkhanyan’s theater confidently and firmly wins the favor of the audience with its complex but vibrant performances. Even the most experienced artists consider the works of Bulgakov, Pushkin and Moliere to be very difficult, but the actors, led by maestro Armen Dzhigarkhanyan, easily embody the images of classical characters on stage. Together with these worldwide famous plays The theater plays performances based on such writers as Beckett and Vampilov. The youth and enthusiasm of the artists, combined with the colossal creative experience and life wisdom of the founder of this temple, Melpomene, allow such a diverse repertoire to successfully exist.

From the historical past of Theater "D"

The Dzhigarkhanyan Theater (its address is Lomonosovsky Prospekt, 17) often tours other cities of Russia. Over the 20 years of its existence, the troupe has visited such settlements as Saratov, St. Petersburg, Cherepovets, Lipetsk, Perm and others. The artists also visited countless cities in the Moscow region.

Initially, Dzhigarkhanyan’s theater was called Theater “D”. It was founded in the early spring of 1996. The base of the troupe at that time was made up of VGIK graduates, whose course was led by Armen Borisovich. Then the establishment was located in a tiny room located on Kooperativnaya Street with a small auditorium. The troupe’s first performance was Professor Dzhigarkhanyan’s one-man show “Krapp’s Last Tape” based on S. Beckett. Then there were the premieres of such performances as “Twelfth Night, or As You Want”, “And the Theater Lives!”, “Mozart and Salieri” and others. The institution’s repertoire also included productions for children, for example “ Nice country Australia" and "Ali Baba and the Forty Thieves".

This is a very versatile repertoire, which even venerable theaters are not always able to handle. But the young troupe successfully realized difficult task which was placed in front of them. The performances gained unprecedented success with both the public and critics, and Dzhigarkhanyan himself proved himself to be an unusually talented teacher.

Troupe led by Gazarov

Armen Borisovich invited Sergei Gazarov to his theater in 1998 for the vacancy of chief director. Together, during the 1998-1999 season, they almost completely renewed the troupe. So, of the artists who “opened” the establishment, only Pyotr Stupin and Alexey Shevchenkov remain today. Also to this day, the “first” sound engineer, Mrs. Gridneva, and the head of the costume shop, Margarita Cheres, are still working. The leading actors from the “second set” are now V. Kapustin, Yu. Anpilogov, A. Bukharov, D. Nadtochiy and A. Annenkov. The basis modern repertoire founded the play “The Inspector General” based on the play by Nikolai Gogol. The director of the performance was S. Gazarov.

In the 1999-2000 season, the Dzhigarkhanyan Theater was replenished with such artists as S. Eventov, E. Ksenofontova, V. Chetkov, E. Medvedeva, I. Gordienko and A. Bashenkova. At this time, the play “Coming Home” was released, in which Dzhigarkhanyan played the main role, and the children’s production “Tales of the Learned Cat”. The latter was produced by Alexey Kiryushchenko. Next season, Gazarov leaves the post of chief director.

Moving to a new building

By 2002, the Armen Dzhigarkhanyan Theater was already an incredibly successful institution. This November the Melpomene Temple is moving to a new building. It is located in one of the most picturesque areas Russian capital- on Sparrow Hills. This building used to house a theater called “Progress”. In the new premises, the theater under the direction of the star is able to accommodate a much larger number of spectators. After all, five thousand people can fit here.

Along with the large premises, the Armen Dzhigarkhanyan Theater had the opportunity to expand its repertoire. Now, in addition to popular dramatic performances, the public has the opportunity to enjoy the wonderful vaudeville “And the Theater Lives!” Productions for young spectators are also created.

What do they put on in the theater?

The Dzhigarkhanyan Theater, whose playbill is extremely diverse, has a main and a small stage. At the first of them, viewers can watch such performances as “Vassa”, “Queen of Beauty”, “Theater of the Times of Nero and Seneca”, “Joan of Arc - White Crow», « Nameless star"and many others.

The following masterpieces are staged on the small stage: “Love Poem”, “Sophia”, “And It’s Not Funny...”, “Molly”, “Theatre... Eternal love"and other productions.

Children's performances

The Dzhigarkhanyan Theater, whose playbill also includes children's plays, deeply respects its young viewers. And therefore he prepares work for them too. So, among children's repertoire There are such productions as “Children's Scenes”, “Tales of the Learned Cat”, “The Extraordinary Adventures of Little Red Riding Hood”, “The Ugly Duckling”, “Twelve Months” and a number of other works.

Alexey Shevchenkov spoke about the intrigues of Dzhigarkhanyan’s young wife. PHOTO. VIDEO

Vitalina Tsymbalyuk-Romanovskaya survived from the theater the best part troupes, including Alexey Shevchenkov, Elena Ksenofontova and Vladimir Kapustin.

Dzhigarkhanyan’s young mistress Vitalina Tsymbalyuk-Romanovskaya (at the end of February 2016) actually destroyed his theater, leaving a significant part of the actors who had worked there for many years to survive.

“I was just invited to the play “Cursed and Killed.” Dzhigarkhanyan, of course, found out about this and at a troupe meeting in front of everyone he called me a traitor. I reminded him that he himself allowed me to work on the side. “Yes, yes, son,” - he nodded. Later, I realized what caused his anger. Dzhigarkhanyan was offended that I was playing for Oleg Pavlovich, whose success as a leader had long given him no rest. Tabakov, the same age as Armen Borisovich, has enough strength for a huge farm: two theaters. “The Moscow Art Theater and Tabakerka, and also a studio school and a theater college... Then a suspicion arose in me that Dzhigarkhanyan would take revenge on me,” says Shevchenkov.

And so it happened.

When the actor left for Kyiv for filming, he unexpectedly learned that Armen Borisovich had cast another artist in the role instead of him.

“And this is after we actually had a family relationship. I’ve been with him since the very foundation of the theater (only the costume designer lasted just as long). I called Dzhigarkhanyan grandfather. And suddenly I realized that now he wants to completely break me. I called him: “What are you doing, dear man?” And he says his favorite phrase with a blue eye (which, by the way, infuriates me): “We need each other.” - “You don’t fucking need anyone!” “I blurted out and hung up,” recalls Shevchenkov.

Shevchenkov considers it particularly unfair that Dzhigarkhanyan took away from him one-room apartment, which he had previously given to him. Armen Borisovich put the actor outside along with his wife and two small children.

“When I left the theater, I had to move out of that one-room apartment.” Although Dzhigarkhanyan, handing me the keys, said: “No matter what happens, the housing is yours forever.” But according to the documents for all these years, my wife Olga and I (she is Armen is still listed as an actress, but he does not give roles to her - the wife of the “enemy of the people”) and did not secure these square meters for himself. When he took away our apartment, Armen Borisovich did not even want to hear that our children were small, that. youngest daughter I was just born then and we had nowhere to go. An actress from the theater now lives on this square - a good friend of ours. And thank God! Otherwise, I was afraid that that lapdog would take over everything - Dzhigarkhanyan handed over several service apartments to the relatives of his mistress. By the way, I got them to work for myself,” says Alexey.

Olga - wife of Alexey Shevchenkov

Alexey met his wife Olga at interesting circumstances: “I woke up one day in the theater on a folding bed after another drunken rehearsal. I looked: a beautiful girl was standing. Well, I think there’s definitely nothing going to happen for a monster like me. But I was wrong. I’m still surprised: how did I conquer her?” recalls the actor.

He admits that he used to have a lot of complexes because of his short stature. “That’s why I had to bend over backwards to please women. And I’m such a bug in front of her. Of course, I trained hard. I thought: “Now I’ll learn to play the guitar! As soon as I get out! I’ll start drinking!” Well, Olya and I got married in the registry office without witnesses. I hid from everyone for six months that I was married. It was psychologically difficult for me to get used to my new status. free man suddenly became unfree,” he shared.

A funny incident happened between Alexey Shevchenkov and the leader of the Leningrad group during the filming of the film “Moth Games”, which took place in Zlatoust near Chelyabinsk.

Shevchenkov and Shnurov almost killed each other then.

“I’m sitting in the evening, suddenly I hear: “The cord has arrived!” But they don’t let him out of the room: they are afraid that he will get drunk and won’t go on stage tomorrow. Out of a sense of solidarity, he poured a glass of vodka and went to meet him. The door opens, naked, holding an empty champagne bottle. speaking, this fool hit me on the head! The bottle broke, and we fought in hand-to-hand combat. I turned around and cut Seryoga’s vein with the “rose.” The cops rushed in, and crowds of onlookers arrived. As a result, we had to be removed separately.” , - Alexey remembered.

Six months later they met in Minsk: “I’m standing near a hotel, and suddenly someone hits me on the shoulder: “Great, brother by blood!” I turn around: “Oh! Shnurov!” We talked. “It’s good that you didn’t die,” he smiled, “but I didn’t sit down.” It turned out that he was taking tranquilizers then,” Shevchenkov concluded the story.

Moscow drama theater under the leadership of Armen Dzhigarkhanyan
Former names	"Theater "D""
Founded
Theater building
Location
Management
Artistic director
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K:Theaters founded in 1996 Coordinates: 55°41′23″ n. w. 37°32′26″ E. d. /  55.68972° N. w. 37.54056° E. d. / 55.68972; 37.54056(G) (I)

The Moscow Drama Theater under the direction of Armen Dzhigarkhanyan (originally called “Theater “D”) was created on March 12, 1996 based on a group of graduates of the VGIK course by Decree of the Committee on Culture of the Moscow Government.

A brief history of the theater in dates, names and titles

1991 - 1994: Armen Dzhigarkhanyan teaches at the acting department of VGIK.

March 12, 1996: Based on a group of graduates of the VGIK course, by Decree of the Committee on Culture of the Moscow Government, the Moscow Drama Theater was created under the direction of Armen Dzhigarkhanyan (initially under the name “Theater “D”).

Seasons 1996 - 1997 and 1997 - 1998: The theater receives premises on Kooperativnaya Street. Armen Dzhigarkhanyan’s one-man show “Krapp’s Last Tape” by S. Beckett was transferred to this stage, the premieres of “Twelfth Night, or As You Will” by W. Shakespeare (both performances directed by Krikor Azaryan), “Cossack, or Camisole by Mascarille” by J. Moliere ( production by Karen Nersisyan), “...And the theater lives!” (based on the vaudeville by A. Lensky and A. Bondi “Lev Gurych Sinichkin”, director Vlad Druzhinin), “Mozart and Salieri” by A. Pushkin (director Valery Sarkisov), two children's performances.

Season 1998 - 1999: Armen Dzhigarkhanyan and Sergei Gazarov, invited as the main director, almost completely renew the troupe (from the “first set” the artists Alexei Shevchenkov and Pyotr Stupin work in the theater today, as well as the head of the costume department Margarita Cheres and sound engineer Anastasia Gridneva). The “second set” was composed, in particular, by Vladimir Kapustin, Alexander Bukharov, Yuri Anpilogov, Alexey Annenkov, Denis Nadtochiy - the leading artists of the current troupe. Release of the play based on N. Gogol’s play “The Inspector General” (directed by Sergei Gazarov), which laid the first stone in the theater’s current repertoire.

Season 1999 - 2000: Sergei Gazarov produces the play “Coming Home” (author of the play G. Pinter, in leading role- Armen Dzhigarkhanyan), and Alexey Kiryushchenko - “Tales of a Learned Cat” for young viewers (a play by R. Ovchinnikov based on fairy tales by A. Pushkin). Elena Medvedeva, Anna Bashenkova, Vitaly Chetkov, Stanislav Eventov come to the theater. At the end of the season, Elena Ksenofontova and Ivan Gordienko are introduced into the play “Homecoming”.

Season 2000 - 2001: Sergei Gazarov leaves the post of chief director. Season premieres: “The Heart is Not a Stone” by A. Ostrovsky (directed by Andrei Zyablikov), as well as several performances directed by Yakov Gubenko. Oksana Golubeva, Alexander Kopylov, Valentin Samokhin join the troupe, and a little later - Olga Kuzina (introduction to the play “The Heart is Not a Stone”). In the middle of the season, Andrei Merzlikin begins working in the theater with the introduction to the play “The Inspector General”. For the fifth anniversary of the theater, Yuri Klepikov is releasing the premiere of “A Crazy Day, or The Marriage of Figaro” by P. Beaumarchais.

Season 2001 - 2002: The season opens with the premiere of “Close Your Eyes - I’ll Tell You Tales” based on the play “Home” by L. Razumovskaya, directed by Yuri Klepikov (Kirill Anisimov makes his debut in it). The second premiere of the season is “Killer Theatre” (based on T. Stoppard’s play “The Real Inspector Hound”, directed by Sergei Golomazov, starring Stanislav Duzhnikov in one of the main roles).

Season 2002 - 2003: On November 22, the main stage of the theater on Lomonosovsky Prospekt opens with the premiere of “She is in the Absence of Love and Death” by E. Radzinsky (directed by Yuri Ioffe). Anatoly Dzivaev is being introduced to the play “Coming Home”; Maria Solovyova and Sakhat Dursunov have also been accepted into the troupe. In the same season, director Vladimir Yachmenev staged the production of “Tiny Alice, or Little Alice” based on the play by E. Albee, and Yuri Klepikov and Pyotr Stupin produced the play “Fugasse” (the author of the play is S. Tarakhovsky).

Season 2003 - 2004: The beginning of the season - Krikor Azaryan produced the play “Powder Keg” based on the play by D. Dukovsky (Alina Vlasova and Vadim Medvedev make their debut on the theater stage in it). Svetlana Lakkai is introduced into the performances “The Heart is Not a Stone” and “Crazy Day, or The Marriage of Figaro”. Vladimir Yachmenev becomes the main director of the theater and (together with Yuri Klepikov) stages Chekhov’s “Three Sisters” - a play that largely determines the face of the Moscow Drama Theater under the direction of Armen Dzhigarkhanyan.

Season 2004 - 2005: “Season of Comedy” - Vladimir Yachmenev and Sakhat Dursunov produce the play “Liar Wanted!” (a play by Vitaly Pavlov based on Dimitras Psafas), and Hovhannes Petyan - the play “A couple more men here” based on Laura Cunningham’s play “Bachelorette Party” (Anastasia Lapina makes her debut on the theater stage in this play). Yuri Klepikov puts children's performance"Little Red Riding Hood".

Season 2005 - 2006: The troupe includes Anatoly Kot. Vladimir Yachmenev is staging the play “Don Juan, or the Stone Guest” based on the play by Moliere, Anna Bashenkova is staging the second version of “Little Red Riding Hood” (titled “The Extraordinary Adventures of Little Red Riding Hood,” a play by E. Perov), and the director from Syria Samir Usman al- At the end of the season, Bash releases the premiere of “Three Cylinders,” based on the play by Miguel Miura.

Season 2006 - 2007: Our first Honored Artists of the Russian Federation - the honorary title was awarded to Elena Ksenofontova, Olga Kuzina, Vladimir Kapustin and Alexey Shevchenkov. Anatoly Dzivaev is staging a play based on the play “The House of Bernarda Alba” by Frederico Garcia Lorca (Yulia Charnaya in the title role). In the middle of the season, Vladimir Yachmenev leaves the theater. Yuri Klepikov brings to life on stage Valery Mukharyamov’s play “In the Shadow of the Vineyard,” written based on the stories of Isaac Bashevitz Singer (the play was released under the title “There They Are Waiting for Us”, and at the beginning of the next season it was renamed “They are Waiting for Us Far, Far Away, Not Here”).

Troupe

• Kirill Anisimov
• Alexey Annenkov
• Yuri Anpilogov
• Anna Bashenkova
• Sergey Vinogradov
• Alina Vlasova
• Valeria Voichenko
• Olesya Galkevich
• Anna Galinova
• Oksana Golubeva
• Ivan Gordienko
• Ksenia Gromova
• Ksenia Drovnikova
• Sakhat Dursunov
• Olesya Kazaeva
• Maria Kozlova
• Natalia Kolodyazhnaya
• Alexander Kopylov
• Svetlana Lakkai
• Anastasia Lapina
• Yuri Larev
• Inna Lyaskovets
• Svetlana Makarova-Vasilchenko
• Alexander Mikhailov
• Anatoly Morozov
• Tatyana Mukhina
• Denis Nadtochiy
• Dana Nazarova
• Georgy Naloev
• Elena Nesterova
• Tatyana Parshina
• Olga Prikhudalova
• Yulia Savina
• Nadezhda Selivanova
• Maria Simdyankina
• Irina Soboleva
• Maria Solovyova
• Peter Stupin
• Evgeniy Sushchev
• Ulyana Frolova
• Ksenia Khudoba
• Yulia Charnaya
• Olga Chernova
• Vitaly Chetkov
• Svetlana Chigrina
• Olga Shevchenkova
• Semyon Steinberg
• Marina Shtoda
• Stanislav Eventov
• Mikhail Zheleznov

Repertoire

• "Molly Sweeney" - Brian Friel
• “Crazy Day, or The Marriage of Figaro” (Pierre Augustin Caron de Beaumarchais)
• "Coming Home" (Harold Pinter)
• "The Thief" (Eduardo De Filippo)
• "Hedda Gabler" (Henrik Ibsen)
• "Don Juan, or the Stone Guest" (Jean-Baptiste Moliere)
• “They are waiting for us far, far away, not here” (script - Valery Mukharyamov based on the stories of I. B. Singer)
• “The Extraordinary Adventures of Little Red Riding Hood” (Evgeniy Perov)
• “She is in the absence of love and death” (Edward Radzinsky)
• "The Inspector General" (Nikolai Gogol)
• “Tales of a Scientist Cat” (Rodion Ovchinnikov)
• “A couple more guys would be here” (Laura Cunningham)
• "Liar required!" (Vitaly Pavlov, based on: Dimitras Psafas)
• "Three Sisters" (Anton Chekhov)
• “The Thousand and One Nights of Shahrazade” (Veniamin Smekhov)
• "Romeo and Juliet" (W. Shakespeare)
• "Theater. Eternal love..."
• “Theater of the Times of Neuron and Seneca” - a tragic farce based on the play of the same name by E. Radzinsky
• “Pygmalion” - dramatic fantasy in 2 acts (George Bernard Shaw, translation by Polina Melkova)
• “Cafe “Life in Pink Light”. Funny story about marital secrets" (L. Goldstein, translation - Anna Pisarenko and Irina Prokhorova)
• “Beauty Queen” - a tragicomedy in 2 acts based on the play by Martin McDonagh (translated by Valentin Khitrovo-Shmyrov)
• “Vassa” - based on the play “Vassa Zheleznova” by Maxim Gorky
• “The Ugly Duckling” - based on the fairy tale by H. H. Andersen
• "Tower of Death" - based on Robert Bolt's play "Vivat! Vivat Regina!

Addresses. Contacts

• Moscow, st. Cooperative, 4, building 15 (March 1996 - December 1998);
• Since December 1998 - Moscow, 119311, Lomonosovsky Prospekt, 17 (the building previously housed the Progress cinema);
• Phone: 930-70-49, 930-42-69, 133-16-64; fax: 930-03-47.

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An excerpt characterizing the Moscow Drama Theater under the direction of Armen Dzhigarkhanyan

As happens in early youth and especially in a lonely situation, he felt an unreasonable tenderness for this young man and promised himself to make friends with him.
Prince Vasily saw off the princess. The princess held a handkerchief to her eyes, and her face was in tears.
- It's horrible! terrible! - she said, - but no matter what it costs me, I will do my duty. I'll come over for the night. He can't be left like that. Every minute is precious. I don’t understand why the princesses are delaying. Maybe God will help me find a way to prepare it!... Adieu, mon prince, que le bon Dieu vous soutienne... [Farewell, prince, may God support you.]
“Adieu, ma bonne, [Farewell, my dear,” answered Prince Vasily, turning away from her.
“Oh, he’s in a terrible situation,” the mother said to her son as they got back into the carriage. “He hardly recognizes anyone.”
“I don’t understand, mamma, what is his relationship with Pierre?” - asked the son.
“The will will say everything, my friend; Our fate depends on him...
- But why do you think that he will leave anything to us?
- Ah, my friend! He is so rich and we are so poor!
“Well, that’s not a good enough reason, mummy.”
- Oh, my God! My God! How bad he is! - exclaimed the mother.

When Anna Mikhailovna left with her son to visit Count Kirill Vladimirovich Bezukhy, Countess Rostova sat alone for a long time, putting a handkerchief to her eyes. Finally, she called.
“What are you talking about, dear,” she said angrily to the girl, who made herself wait for several minutes. – Don’t you want to serve, or what? So I'll find a place for you.
The countess was upset by the grief and humiliating poverty of her friend and therefore was out of spirit, which she always expressed by calling the maid “dear” and “you.”
“It’s your fault,” said the maid.
- Ask the Count to come to me.
The Count, waddled, approached his wife with a somewhat guilty look, as always.
- Well, countess! What a saute au madere [sauté in Madeira] will be from hazel grouse, ma chere! I tried it; It’s not for nothing that I gave a thousand rubles for Taraska. Costs!
He sat down next to his wife, resting his arms bravely on his knees and ruffling his gray hair.
- What do you order, Countess?
- So, my friend, what is it that you have dirty here? - she said, pointing to the vest. “It’s sote, that’s right,” she added, smiling. “Tell you what, Count: I need money.”
Her face became sad.
- Oh, Countess!...
And the count began to fuss, taking out his wallet.
“I need a lot, Count, I need five hundred rubles.”
And she, taking out a cambric handkerchief, rubbed her husband’s vest with it.
- Now, now. Hey, who's there? - he shouted in a voice that only people shout when they are sure that those they are calling will rush headlong to their call. - Send Mitenka to me!
Mitenka, that noble son raised by the count, who was now in charge of all his affairs, entered the room with quiet steps.
“That’s it, my dear,” said the count to the respectful young man who entered. “Bring me…” he thought. - Yes, 700 rubles, yes. But look, don’t bring anything torn and dirty like that time, but good ones for the countess.
“Yes, Mitenka, please, keep them clean,” said the countess, sighing sadly.
- Your Excellency, when will you order it to be delivered? - said Mitenka. “If you please know that... However, please don’t worry,” he added, noticing how the count had already begun to breathe heavily and quickly, which was always a sign of beginning anger. - I forgot... Will you order it to be delivered this minute?
- Yes, yes, then, bring it. Give it to the Countess.
“This Mitenka is such gold,” the count added, smiling, when the young man left. - No, it’s not possible. I can't stand this. Everything is possible.
- Oh, money, count, money, how much grief it causes in the world! - said the countess. - And I really need this money.
“You, countess, are a well-known reel,” said the count and, kissing his wife’s hand, he went back into the office.
When Anna Mikhailovna returned again from Bezukhoy, the countess already had money, all in brand new pieces of paper, under a scarf on the table, and Anna Mikhailovna noticed that the countess was disturbed by something.
- Well, what, my friend? – asked the Countess.
- Oh, what a terrible situation he is in! It is impossible to recognize him, he is so bad, so bad; I stayed for a minute and didn’t say two words...
“Annette, for God’s sake, don’t refuse me,” the countess suddenly said, blushing, which was so strange considering her middle-aged, thin and important face, taking money out from under her scarf.
Anna Mikhailovna instantly understood what was happening, and already bent down to deftly hug the countess at the right moment.
- Here's to Boris from me, to sew a uniform...
Anna Mikhailovna was already hugging her and crying. The Countess cried too. They cried that they were friends; and that they are good; and that they, friends of youth, are busy with such a low subject - money; and that their youth had passed... But the tears of both were pleasant...

Countess Rostova with her daughters and already with a large number guests were sitting in the living room. The Count led the male guests into his office, offering them his hunting collection of Turkish pipes. Occasionally he would go out and ask: has she arrived? They were waiting for Marya Dmitrievna Akhrosimova, nicknamed in society le terrible dragon, [a terrible dragon,] a lady famous not for wealth, not for honors, but for her directness of mind and frank simplicity of manner. Marya Dmitrievna was known by the royal family, all of Moscow and all of St. Petersburg knew her, and both cities, surprised by her, secretly laughed at her rudeness and told jokes about her; nevertheless, everyone without exception respected and feared her.
In the office, full of smoke, there was a conversation about the war, which was declared by the manifesto, about recruitment. No one had read the manifesto yet, but everyone knew about its appearance. The Count sat on the ottoman between two neighbors who were smoking and talking. The Count himself did not smoke or speak, but tilting his head, now to one side, now to the other, looked with visible pleasure at those smoking and listened to the conversation of his two neighbors, whom he pitted against each other.
One of the speakers was a civilian, with a wrinkled, bilious and shaved thin face, a man already approaching old age, although dressed like the most fashionable young man; he sat with his feet on the ottoman with a view home person and, throwing amber far into his mouth from the side, impulsively inhaled the smoke and squinted. It was the old bachelor Shinshin, cousin countess, an evil tongue, as they said about him in Moscow drawing rooms. He seemed to condescend to his interlocutor. Another, fresh, pink, guards officer, impeccably washed, buttoned up and combed, held amber in the middle of his mouth and lightly pulled out smoke with his pink lips, releasing it in ringlets from his beautiful mouth. This was Lieutenant Berg, an officer of the Semenovsky regiment, with whom Boris rode together in the regiment and with whom Natasha teased Vera, the senior countess, calling Berg her fiancé. The Count sat between them and listened attentively. The most enjoyable activity for the Count, with the exception of the game of Boston, which he loved very much, was the position of listening, especially when he managed to pit two talkative interlocutors against each other.
“Well, of course, father, mon tres honorable [most venerable] Alfons Karlych,” said Shinshin, laughing and combining (which was the peculiarity of his speech) the most popular Russian expressions with refined French phrases. - Vous comptez vous faire des rentes sur l "etat, [You expect to have income from the treasury,] do you want to receive income from the company?
- No, Pyotr Nikolaich, I just want to show that cavalry has much less benefits against infantry. Now figure out, Pyotr Nikolaich, my situation...
Berg always spoke very precisely, calmly and courteously. His conversation always concerned himself alone; he always remained calmly silent while they were talking about something that had nothing directly to do with him. And he could remain silent in this way for several hours without experiencing or causing the slightest confusion in others. But as soon as the conversation concerned him personally, he began to speak at length and with visible pleasure.
- Consider my position, Pyotr Nikolaich: if I were in the cavalry, I would receive no more than two hundred rubles a third, even with the rank of lieutenant; and now I get two hundred and thirty,” he said with a joyful, pleasant smile, looking at Shinshin and the count, as if it was obvious to him that his success would always be main goal the desires of all other people.
“Besides, Pyotr Nikolaich, having joined the guards, I am visible,” Berg continued, “and vacancies in the guards infantry are much more frequent.” Then, figure out for yourself how I could make a living out of two hundred and thirty rubles. “And I’m putting it aside and sending it to my father,” he continued, starting the ring.
“La balance y est... [The balance is established...] A German is threshing a loaf of bread on the butt, comme dit le proverbe, [as the proverb says],” Shinshin said, shifting the amber to the other side of his mouth and winked at the count.
The Count burst out laughing. Other guests, seeing that Shinshin was talking, came up to listen. Berg, not noticing either ridicule or indifference, continued to talk about how, by transferring to the guard, he had already won a rank in front of his comrades in the corps, how in wartime a company commander can be killed, and he, remaining senior in the company, can very easily become a company commander, and how everyone in the regiment loves him, and how his daddy is pleased with him. Berg apparently enjoyed telling all this and seemed unaware that other people might also have their own interests. But everything he told was so sweetly sedate, the naivety of his young egoism was so obvious that he disarmed his listeners.