When you approach the MDM entrance, you immediately notice that the theater has turned into the mystical castle of the vampire Count von Krolock with black Gothic gates. Then you immediately understand that something mysterious, dark and enigmatic awaits ahead...

The Vampire's Ball is a cult musical based on the 1967 Roman Polanski film The Fearless Vampire Killers. In 1997, a stage version from VBV was created in Vienna, which gained enormous popularity, winning the hearts of millions of viewers. The musical came to Russia in 2011, then it took place on the stage of the Musical Comedy Theater in St. Petersburg. And now, five years later, “Ball of the Vampires” reached the Moscow stage. The production is distributed by the Russian division of Stage Entertainment, for which Roman Polanski's musical became the eleventh Russian production. The director himself considers the film his best creation, although, of course, it stands out from other Polanski works. The love for “Fearless Vampires” is explained by the fact that his wife Sharon Tate, who tragically died, played there.

The plot of the musical almost completely repeats the content of the 1967 black comedy The Fearless Vampire Killers. Abronsius, a professor at the University of Königsberg, arrives to a nondescript village somewhere in Transylvania with his student assistant Alfred in order to prove the existence of vampires. The travelers stop at an inn, owned by a middle-aged man, Yoni Chagall, who lives there with his wife Rebecca and daughter Sarah. While Ambronsius unsuccessfully tries to obtain information about vampires in a garlic-lined tavern, Alfred falls in love at first sight with Chagall's beautiful daughter. However, she is soon kidnapped by the treacherous vampire Count von Krolock, forcing the professor and his assistant to quickly get to the mysterious castle.

A lot has been said about vampires in cinema, from Nosferatu to Count Dracula. Actually, von Krolock is a similarity to the character in Bram Stoker’s novel. Only Polanski didn’t want to make another horror story; “The Fearless Vampire Killers” is a parody of all the films about blood-sucking evil spirits that had come out in Hollywood by the mid-60s. The film has more than enough black humor, which is its highlight. Professor Ambronsius, who looks like a kind of eccentric Einstein, is simply obsessed with the vampire theme. His assistant Alfred is clearly not very keen on this idea, but in order to help his mentor, he reluctantly looks for vampires. Beautiful Sarah, in turn, cannot boast of anything except her dazzling appearance and the need to constantly take a bath. Actually, Roman Polanski wanted the musical to also be ironic, without bias towards the serious problem of the relationship between good and evil.

However, the creators of “Ball” did not make do with just black humor and ridicule of the vampire theme. On the contrary, everything connected with bloody evil spirits has now reached a serious level. The vampires here are beautiful and captivating aristocrats who can turn the head of any unlucky girl. Likewise, the vampire castle has become mysterious and gloomy, there is nothing comical in it anymore. Von Krolock himself appears as a demonic principle who is capable of deciding the destinies of people. There is, of course, humor in the production, but it is the responsibility of Professor Ambronsius, Alfred, the owners of the inn and only one vampire - von Krolock's son Herbert. The comic situations the characters find themselves in are taken entirely from the film version of the story.

Thus, the world of “Ball of the Vampires” was divided into two – the comic human one and the mysterious vampire one. Although, of course, when fearless and noble vampire killers end up in the castle, funny incidents begin to happen to them there, mixing these worlds.

In the middle of two worlds is the beautiful Sarah, who, unlike her prototype in the movies, comes to the castle herself, enchanted or bitten by von Krolock. Probably, by this the creators wanted to show the duality of human nature, which passes from good to evil.

The romantic line between the young assistant and Sarah became clearer in the production, explaining the presence of lyrical compositions in the musical. The young girl chooses here between the clumsy and timid Alfred and the stately, mysterious Count. Doesn't remind you of anything? Personally, this story reminded me of the plot of “The Phantom of the Opera”, the release of which only recently ended on the MDM stage. Indeed, one can recall Christine Daae, who chose between her childhood friend Raoul and the brilliant Phantom of the Opera. The similarity is strengthened by the fact that in Ball of the Vampires Count von Krolock is played by the talented actor Ivan Ozhogin, who also played the Phantom. By the way, Ozhogin successfully played in the German version of “The Ball”, becoming the standard performer of the role of von Krolock.

Sarah arrives at von Krolock's castle. Photo: Yuri Bogomaz

But the production rather benefits from its similarity to The Phantom of the Opera. The craving for the unknown and mysterious is always popular with viewers. Becoming a story similar to the legendary creation of Andrew Lloyd Webber, "The Fearless Vampire Killers" turned into an alluring, mysterious and sophisticated "Vampire's Ball."

All parts in the musical are dynamic and memorable, which is not surprising - the composer of the production was Jim Steinman, songwriter of Celine Dion and Bonnie Tyler. One of the main themes of the “Ball” is Tyler’s song Total Eclipse of the Heart (“Total Eclipse of the Heart.” – Note “365”). The actors of the production give their best not even 100, but 200%. It’s not enough to say about the amazing vocal abilities of the artists, because a musical is not an opera, so the emphasis here is more on the dramatic abilities of the performers. You really get immersed in the performance and begin to empathize with the characters. This is also quite logical, because the cast was personally approved by Roman Polanski. Thus, the performers of the roles of Sarah and Alfred, Irina Vershkova and Alexander Kazmin, met with the director in Paris, where he gave them valuable advice and persistently emphasized that everything in the musical should be imbued with irony.

The musical is being shown in Moscow for the first time, but in St. Petersburg it ran successfully for five whole years. The set design for these productions is identical to that of the original Viennese version of the musical. They also did not make a new translation of the songs. Even half of the troupe “moved” from St. Petersburg to Moscow. I wonder if these productions are different from each other? I decided to ask this question to a fan of the musical, Angela Gordiyuk, who has seen Roman Polanski’s legendary production several times.

“There are still differences, they are largely at the level of sensations. First of all, for the Moscow production the text was slightly changed - it was significantly smoothed out, depriving it of provocativeness. This is quite expected in the cultural situation of the capital. Thus, von Krolock’s opening aria underwent a significant transformation - initially it was “God is dead/your God is dead, his name is forgotten”, but it became “God is forgotten/his name is forgotten”. But this was a direct translation from the original musical, which Nietzsche quotes. Other changes are also noticeable - it was “How lovely is your ass”, and became “How graceful is your figure” (duet of Alfred and von Krolock’s son Herbert, who was inflamed with passion for the young assistant. - Note “365”). In general, Herbreth’s “pickup” was somewhat smoothed out, giving the image of the vampire greater aristocracy. As for the overall experience, the Moscow production is in no way inferior to the St. Petersburg one, but the impressions are different. “The Ball” lost the intimacy of the Musical Comedy Theater (850 seats versus 2000 at MDM. – Note “365”), so the interactivity of the action was lost, since the central aisle could not be used by wandering actors. And yet the impression when another vampire jumps onto the curb of the benoir box is indescribable,” Angela shared with “365”.

But special effects are also present in MDM, and the interactivity of the production has not gone away either. The involvement of spectators in the process has become less, but the vampires still scare when passing by spectators sitting near the side exits. The very appearance of vampires on stage and in the hall is interesting. It happens so imperceptibly and technically perfect that every time it comes as a complete surprise and is perceived as real magic. This is also facilitated by moving scenery, in which 3D screens were used. This creates a more complete effect of immersion in the action taking place. For example, before the scene when Ambronsius and Alfred go to the vampires' castle, images of a gloomy Gothic structure, clearly reminiscent of Cologne Cathedral, are projected on the curtain screen. And when we find ourselves with Sarah in the castle’s living room, she is surrounded by moving portraits of von Krolock’s ancestors. The production features a total of 75 sets that immerse you in a mystical atmosphere.

The musical turned out to be really exciting and interesting. “Despite the fact that it is a parody, the musical has great depth - both in terms of philosophy, psychology, and thanks to the cinematic accuracy of the characters. This makes the viewer come again and again. This musical doesn’t let you go - I know people who have seen the play more than a hundred times,” says Ivan Ozhogin, who plays Count von Krolock, about “The Ball.” Indeed, as soon as you leave the hall after the end of the performance, you immediately realize that you want to return to the “Vampire Ball” again.

Text: Natalya Shulgina

En Dance of the Vampires is the first color film directed by Roman Polanski (1967)." /> Filmways Pictures">

"Vampire Ball"(en Dance of the Vampires) is the first color film directed by Roman Polanski (1967). It was released in America under the title "The Fearless Vampire Killers, or Sorry, but your teeth are in my neck"(en The Fearless Vampire Killers, or Pardon Me, But Your Teeth Are in My Neck).

Plot

Königsberg University professor Abronsius or Abronsius (Jack McGowran), together with his student assistant Alfred (Roman Polanski), travel to Transylvania in order to check rumors that there is a castle there in which a vampire named Count Von Krolock (Ferdie Mayne) lives. ) together with his son Herbert. They stop at an inn owned by Yoni Chagall (Alfie Bass), a middle-aged man. Chagall lives with his family: a maid, his wife Rebecca and his beautiful daughter Sarah (Sharon Tate), with whom Alfred falls in love at first sight.

Professor Abronsius asks Chagall and other inhabitants of the court about vampires, but they only answer that they have never seen anything like it. One gets the feeling that people are hiding something, as one guy accidentally blurts it out when the professor just arrives at Chagall, but Chagall and his guests interrupt the young man and switch the conversation to another topic. The professor tells his assistant Alfred that he has discovered almost all the signs of vampires: garlic, which is hung almost everywhere in the inn, and a castle, the existence of which is hidden by local residents. One morning, a strange hunchbacked man with crooked teeth and a creaky, hoarse voice arrives at the inn in a sleigh. This man asks the innkeeper Yoni to sell him some candles for the castle.

Tony Rout and Ivan Reis present to your attention a parody trash video, which is based on mockery of one that has already become a cult, modern music...

The professor, who watched this picture at breakfast, tells his assistant to follow the hunchback, as he can lead them to the castle where vampires live. The hunchback was preparing the sleigh for departure and noticed Chagall's daughter Sarah, who was watching the hunchback through the window of her room. Alfred clings to the back end of the hunchback's sleigh and rides like this for a while, but then Alfred's hands slip and he falls off the sleigh; The hunchback, not noticing Alfred's presence, leaves. That evening, Count Von Krolock secretly sneaks into the inn and kidnaps Sarah Chagall while she is taking a bath. Yoni Chagall and his wife panic, they cry for a while, and then Yoni, blinded by anger and sadness, goes in search of his daughter. The next morning, lumberjacks bring Yoni's frozen corpse.

The magnificent story about the adventure of Professor Abronsius, working at the University of Königsberg, and his assistant, Alfred, studying at the same educational institution, begins with a trip to Transelvania. After all, rumors began to circulate that on this territory there is a castle in which Count Von Krolock and his son Herbert live. But the most amazing thing is that there is an assumption that these characters are actually vampires! After arriving at this wonderful place, the heroes decide to stay with one man, not young, but not exactly old. His name is Yoni Chagall. In addition to Yoni, in this house there is his wife Rebecca, incredibly beautiful daughter Sarah, and a maid. After meeting Sarah, Alfred “loses his head” and falls very much in love with her and shows various signs of attention.

The heroes are trying to get information about the mysterious castle and its inhabitants. But everything is in vain. All residents of the home claim that this is just a myth, that this has never happened in Transelvania. However, the professor begins to guess that these people are not saying something, hiding something. Since there is garlic hanging all over the house, and this is, to say the least, very strange. Alfred and Abronsius's suspicions intensified after, during a dialogue between Chagall and his guests, one of the visitors to the house spilled the beans and mentioned something about vampires. But Chagall was not at a loss and immediately turned the conversation to completely different topics. After some time, Yoni Chagall's house is visited by a very suspicious person. He had a very prominent hump, crooked teeth and a very raspy, hoarse voice. He came on his sleigh to buy some candles, and not just for his house, but for the castle! Abronsius and Alfred, who observed this picture, immediately understood which castle it was for, and the professor asked his assistant to follow the suspicious hunchbacked guest, because this way they could find out the location of the castle. After the deal with the owner of the house, the hunchback began to prepare to leave. Yoni's daughter Sarah was watching him, and he saw her. As soon as the hunchback's sleigh starts moving, Alfred clings to the sleigh and thus travels several hundred meters. However, at one moment Alfred realizes that his hands are about to slip, and he unhooks himself from the sled. He was very lucky that the hunchback never suspected that there was someone else on the sleigh besides him.

On the same day, Count Von Krolock enters the inn where the professor and his assistant settled. He decided to visit this home in order to steal Sarah Chagall. And he manages to do it. All residents are in panic. Yoni and his wife can't hold back their tears. However, an embittered and saddened Yoni leaves to look for his daughter, Sarah. As it turned out, everything was in vain, because already on the morning of the new day, the inhabitants of the inn learned about Yoni’s death. His frozen corpse was taken straight to the house.
Abronziuz and Alfred decide to examine Chagall's dead body. They discovered suspicious bites in the neck area, which, by the way, were very similar to vampire bites. However, the loggers who brought the corpse claim that Chagall was attacked by wolves. Abronsius becomes furious and he drives out and insults the lumberjacks.

The next day something terrible happens. Yoni Chagall rises from the dead and attacks the poor maid. The professor and his assistant witness these very strange and terrible events. After the attack on the maid, the owner of the house runs away, and the heroes decide to pursue him. As it turns out, the once dead Yoni Chagall leads them to that very castle. At the castle, Abronsius and Alfred discover Count von Krolock. Besides him, they notice a hunchbacked man who visited the inn to buy candles. After meeting, they find out that this man’s name is Kukol. They also meet von Krolock’s son, whose name is Herbert. As it turned out, von Krolock is a very smart and educated person, because he has a huge library and knows the natural sciences very well. The professor receives an offer to live in such a mysterious castle. And Abronsius accepts Count von Krolock's offer, but does not forget that he is probably a vampire. The next day, the heroes' suspicions were confirmed. Count von Krolock tells them that he is actually a vampire, and that it was he who actually kidnapped Sarah. After this, he locks Abronsius and Alfred on the balcony of his castle. The professor and his assistant observe a terrifying picture. They see that some kind of movement has begun in the cemetery near the castle, namely, the corpses have begun to come to life, get out of their graves, and are heading to the castle. As it turns out, they are going to a ball hosted by von Krolock. The heroes are at a loss. But they find a way to get out and decide to head to the ball. To avoid detection, they steal the vampires' ball gowns and enter the ball. But this did not help, since they are reflected in the mirror, while vampires are not. The dead try to grab Abronsius and his assistant. But the heroes manage to escape; in addition, they find Sarah Chagall and escape with her. But saving Sarah threatens Transelvania and even all of humanity, since the professor and Alfred are not aware that Sarah, recently, is also a vampire.

"The Vampire's Ball": what do we know about the musical based on the film by Roman Polanski

In 2016, the premiere of the musical "The Vampire's Ball" took place in Moscow - one of the most anticipated and successful musical performances, which is still sold out. On the eve of the spring season, we are revealing even more secrets of this production in the format of “10 little-known facts about the play.”

2017 is the anniversary year for the Vampire Ball. The musical is based on Roman Polanski's cult film "The Fearless Vampire Killers, or Sorry, but your teeth are in my neck." This year marks the 50th anniversary of the film and the 20th anniversary of the musical. Director Roman Polanski calls the filming period the best time of his life and likes to repeat that there is no hidden meaning or edification in his black comedy.

One of the main characters in the play looks the same as Roman Polanski in the film. Polanski played in his film the young student of Professor Abronsius, Alfred, who falls in love with the beautiful Sarah and goes to the lair of Count von Krolock to save her. The director insisted that in the stage version Alfred look exactly the same as in the film - a burgundy velvet jacket, an awkward bow around his neck and disheveled hair. The main characters of the play are Sarah and Alfred

Scenes in the play change 75 times - more often than in The Phantom of the Opera. The musical "Vampire's Ball" amazes with its entertainment and scale. This project uses dozens of winches to provide instant scenery changes. By the way, Count von Krolock's castle has been recreated almost completely - from the bathroom to the bedroom.

Among the vampires who arrived at the ball, you can find familiar faces. In the images of vampires that come to Count von Krolock, you can see the greatest villains in history. Vlad Tepes Dracula, Elisabetta Bathory, who loved to bathe in the blood of young girls, as well as Delphine LaLaurie, who abused slaves, and the serial killer Gilles Dere, who was the prototype of Bluebeard, appear before the viewer. Ludwig of Bavaria looks like an innocent child in such company - he just lived as a recluse, slept during the day, and at night walked in the moonlight around the lake on his estate. In total, more than 230 costumes were used in the musical, among which there are real treasures - for example, shirts of peasants from Transylvania, which are more than 100 years old.

In the rhinestones present on the costumes of the heroes, you can see special signs. Sarah's burgundy ballgown, a gift from the Count, is decorated not only exquisitely, but also symbolically. It is embroidered with red stones, which symbolize flowing blood. And if you look closely at the pattern of rhinestones, you will notice that they are laid out in the shape of a skull. Detail is the main feature of the musical. For example, the symbol of eternal life Ankh - the family coat of arms of Count von Krolock - is not only found in the decorations of the castle, but is also lined with rhinestones on his cloak. Von Krolock's cloak and symbol on it

Over the past 10 years, vampires have become sexier. During the existence of the musical, the appearance of vampires has changed significantly. 10 years ago they were scary, scary monsters. But after the release of the films "Twilight" and "The Vampire Diaries," the public's perception of vampires changed. The creative team developed new makeup and hairstyles to make the vampires more beautiful and sexier.

Ivan Ozhogin, who plays Count Von Krolock, once scared a traffic police inspector. The main attribute of a vampire is teeth. Fangs for each artist were created separately. First, a cast of the teeth was made, then a model of the fangs was made by hand from wax. A silicone impression was made from it, which was filled with plastic, after which the mouthguards were individually adjusted to the actors, so wearing such teeth is relatively comfortable. There is a well-known story of how once the leading actors in a musical, Ivan Ozhogin and Elena Gazzaeva, drove from one shoot to another without having time to remove their makeup.

We had just completed filming in “Evening Urgant”, and we needed to be in time for a photo shoot that took place in the restaurant,” Ivan recalls with a laugh. - There was no time to re-make up, so I had to move around in my images from the play. We go, we don’t bother anyone, we rehearse the duet “Pitch Darkness”. Suddenly, out of nowhere, a traffic police officer appears in front of the car. I tell Lena to pretend to be asleep, and I open the window and smile at the employee. He looks into the car, assesses the situation, and, without even looking at the documents, says: “Drive, but be careful!” And he himself is so attentive and attentive.

The most time is spent on makeup for the characters Von Krolock and Kukol. Before each performance, 4 characters spend about an hour and a half on makeup: Count von Krolock, his son Herbert, Professor Abronsius and Kukol. The Count's makeup takes more than 2 hours. The makeup of von Krolock and Herbert affects not only the face, but also the hands, because they must have long false nails. They are painted by hand with special varnishes of several shades. The ugly henchman Count Kukol has the most complex prosthetic makeup. Silicone pads made according to the shape of the artist's face are glued to his face. They include the cheeks, nose, chin, eyebrows, lip and ear, then makeup is applied on top and the scars are painted on. The effect is so impressive that when this character appears, viewers often shudder.

The blood that the viewer sees in the play has a cherry or strawberry flavor. To make the bite look impressive and the blood to really splatter, special capsules with blood are prepared for the artists, which they bite into at the right moment. Blood comes in 2 flavors - cherry and strawberry. It is made from corn syrup with the addition of food coloring.

There is a CD with music from "Tale of the Vampires". In honor of the anniversary, the Stage Entertainment company has prepared a gift for all fans of the play by recording and releasing the first licensed album of the musical “Ball of the Vampires” in Russian. The album features 11 hits from the show, written by composer Jim Steinman, performed by the stars of the musical, accompanied by an orchestra. All tracks are recorded in live format, which will help listeners to fully immerse themselves in the atmosphere of the show and feel the “live” emotions of the artists during the performance. The disc can be purchased at the theater and on the official website of the performance.

My friends, I'm lost!

Since the 26th, when I finally went for the first time to the long-awaited visit to Russia

musical "Vampire Ball".

I’ve disappeared so much that today is already the 6th of next month, and I can’t do anything or think about anything, not for a second except about.....!
All the “YouTube excerpts” have already been reviewed, the songs have been listened to to the gills. Now they sound not only in the player, but I can freely “turn on” any passage in my head from anywhere...
I have examined the program to the point of wear and tear (I suppress my indignation at the negligence and carelessness with which it was compiled).

In a word, I am in the same “intoxicated” state as during the active wave of ghost-mania (the musical “The Phantom of the Opera”)...

I don’t know how soon I will be able to describe my emotions in Russian... I’ll just say that the day after “my own premiere”, I went to the play again. During the day. Despite the fact that I had to drag my suitcase with me and jump straight from there “on the step of the departing train.” If it weren’t for the need to return home, to Koenigsberg, the Professor’s homeland, I’m sure that I wouldn’t have missed the evening performance of the same day, even if I had to sit under a chair for 4 hours...
Vampires will ruin me, destroy me

...the musical comedy theater has acquired another faithful “drug addict”...

Impression.
Despite the fact that I already knew all the flaws of the text (and, alas, in my opinion, one mistake of the cast), while in the hall, I even “forgot to breathe”...

Frankly, before the first viewing, I was afraid that such an effect would happen...

Well, you know, when you wait for something for a long time, and you know that it should be “just awesome,” then due to hyperexpectations, disappointment most often occurs. ...like how the anticipation of a holiday is cooler than the holiday itself.

But no... everything here was at a very, very decent level. I am writing these dry words, extinguishing the enthusiastic emotions overwhelming me.

Now, when I have already reviewed and re-read everything that the Internet could offer, knowing how the scenery was sculpted, the actors rehearsed, the fans celebrated... In a word, having already dissected the image of the fairy tale from the inside and up and down, I still cannot leave the feeling of the integrity and magic of what is happening..

Thanks to Yuri Schwarzkopf for taking the risk.

Thank you for not being stingy and not simplifying it. Looks FANTASTICALLY beautiful! Every “frame”, every action, every step inside the fairy tale.

Thanks to Kentaur for the gothic style, costumes and stage design! They are gorgeous! I’m reviewing it again... and I’ll be looking at everything, every detail for a long time!

Thank you to the make-up artists for not crossing the line. Pleasant to watch from any distance.

Of course, thanks to the actors. The images they created never leave my head.

I can write, but everyone has already mentioned it. So it won't be new.

Count Von Krolock
Ivan Ozhogin coped with a difficult task. For fans of the musical, creating a successful image of Von Krolock, after the previous ones, is a task standing somewhere between “difficult” and “impossible.” Everyone had their own favorite, BEST Count, who “can’t be surpassed.” (I HAD Barton).
It is all the more difficult to reshape what has already been done, to break away from ready-made templates and create YOUR OWN image. I think this is the excitement of being an actor and singer. Create your own. And how cool it is when a sophisticated (fan) audience likes this “one of our own”. It’s clear that Ivan is proud of what he’s done, if only he doesn’t become a star, it’s hard to go out later..

Alexandra looked at a couple of high-quality recordings. Not mine! Or rather, I forced myself to watch it in order to form an opinion.. Everything is wrong and wrong.. There is no aristocracy, and facial expressions and shaking of the head in pathetic moments are out of place for the living. I’m very afraid of offending a good artist who also has his own fans, but, let’s just say, it just turned out to be a DIFFERENT image and it’s not close to me.

I’ll return to “my” Krolok (Ivan)
IMHA, not only Russian fans, but also international ones, will be delighted with this image of the Count: young, sexy, charmingly cynical. With irony, with calm cruelty and aristocratic arrogance. He's great.

Voice! Not only his strength, but his play with emotions and intonations.
Open “a”s that emphasize “malice” and “cunning.” An insinuating, alarming drawl...

Special thanks for the walk. When I was sitting on the 4th row from the edge. Knowing that at that moment Krolok was entering the hall, I turned around. A vampire was moving towards me from the darkness. The light emphasized the pallor of the face and hands. There were no steps... he floated down the aisle towards the stage...
Perhaps, for me these seconds were one of the most powerful impressions. And a half-smile when he leaves the hall after the first aria.

Herbert(Kirill Gordeev)

Alas, all the Herberts I have seen before have irritated me. It didn’t work out for me at all with this character before Kirill.
Now it is one of my favorites, like most viewers.
It's nice that I didn't go overboard with the orientation. Didn't get to the point of vulgarity...
The bite with which he appears behind Alfred's back :)
An abyss of charm:) and passion. At the same time, there is a predatory danger within.
“In you, just know that!” (With) And try to argue...

Alas, I didn’t see Rostislav in this role. He is one of the few actors whom I knew before the project. I appreciate, love and respect :)

Professor perfect!


I don't even know what to add. It's a shame that the high note in his part was removed. Why? Wasn’t Andrei Matveev pushing?
And I’m very sorry for the absence of the grazing rrrrrrr :) which in the German version is ready to dry out “non stop”.

Alfred- Georgy Novitsky.

For some reason, not much is written about him, but nevertheless he plays in most of the scenes, the entire musical.
How gorgeously he sings his aria about Sarah.
The image created by Georgy is not a “slobber in love” and a whiner, but rather a normal person with all the human fears inherent in him. I'm afraid you and I would behave the same way if we found ourselves in a similar situation, and next to such an insane, positive professor :)
Looking through various “post-performance photos” I noticed how tired and “exhausted” Georgy was after the performance.
..and the main laurels do not go to him.. :(
Great acting! Believe it from start to finish! Wonderful voice! Best look!
I don't want anyone else in this role.

Sarah- Elena Gazaeva.

I remember when I came from “my own” premiere, I said: “I know who my favorite actor is in this production! Sarah". In response, I received a perplexed expression on my face, deciding that it was better not to argue with me in this state. Then I read and listened to a lot of things. And under pressure from criticism, my opinion not only changed, but shifted. Will explain. I “fell in love” with Elena as a person. I mean her attractive appearance, smile, voice. At that moment, I forgot about the image of Sarah, where perhaps I could add doubts, ambiguity of choice, fewer happy smiles. Although, we do not know the director's requirements, as noted in one of the reviews. In any case, I’m ready to watch Elena again and again and again :)

Magda.. For me, Magda will remain Eva Maria Marold .. but this is my personal perception of the image, and not “where the stairs were moved” :) Natalya Bogdanis played well! I especially like it in the second act in the scene with Chagall :).


Excellent voice intonations in dialogues!
And it’s nice that there is a person in the troupe who could speak freely with the directors in their native language.

I don’t know if it’s worth writing about the shortcomings. Again, this is my personal opinion.
The only one I don't like in the Russian version is Chagall, although in other productions this is almost a favorite image.
Well, he's not a Jew! Not a "huckster".

There is no necessary image when you believe that he is dodging, trying “both ours and yours”: not to lose clients and to deal with Kukol, bending before the “powers of the world.”
And keep your daughter in innocence, so that later she can sell it more profitably and marry her off.
And to make it clear why the coffin was dragged into the count’s crypt - to become related to the family. And it’s not in vain that he sings about “the thirst for blood, like the thirst for money.”

Helpfulness; “nailedness,” that is, the automatic habit of bowing to everyone, while remaining on one’s own wavelength; some greed; resourcefulness, reaching the point of being comical... some kind of “greasyness” or something...
This is not in either the first or second act...
Moreover, the failure to fit into the character, it seems to me, is not the fault of the actor Konstantin Kitanin, but rather a mistake of the cast.

Rebecca– Manana Gogitidze – super! Voice, expression...that poor goose :)) And when she cries... so naturally that I noticed how my own face suddenly changed from interested to sincerely sympathetic. And for some reason I really like the name “Manana” :)

I almost forgot Doll The kindest eyes in the world :)

It must be difficult for Alexander Chubaty to run in such a half-crouched state.

Here's the report.

In a word, I am completely in love with "Tanz der Vampire", “Vampire Ball” in Russian!

Another detailed review from the LJ community.