And from the article by B.I. Nikolsky “E.D. Turchaninova in the plays of Russian and Western classical drama" from the collection "Evdokia Dmitrievna Turchaninova":

“Ostrovsky’s comedy “Enough Simplicity for Every Wise Man” has always been considered a performance of high skill throughout its seventy-year stage life on the stage of the Maly Theater. The comedy featured such major representatives of the old and modern troupe of the Maly Theater as Medvedeva, Rykalova, Fedotova, Nikulina, Sadovsky, Lensky, Yuzhin, Ryzhov, Yablochkina, Klimov, Massalitinova, Pashennaya, Zubov, Zrazhevsky, Yakovlev, Shatrova, Tsarev, Ilyinsky, Vladislavsky."

Description of the performance from the Maly Theater website:

“Every Wise Man Has Enough Simplicity” is one of those plays that at all times sounds poignant and topical. Why is the story about “how one comes out into the public eye” written in the century before last so interesting today? Yes, at least because the paths to “high society” are still the same, but there are more and more applicants. In what way, in what way can you make a career and become one of the people? How are human reputations created and destroyed? Ostrovsky answers these questions by telling the story of a young man named Glumov, who decided to achieve a high position in society at any cost.

The audience is very diverse: young and old, fashionable (right down to the feathers in their high hairstyles) and democratically dressed. This diversity, undoubtedly easily explainable, to some extent, it seems, can be correlated with one of the key thoughts that remains after the performance: Ostrovsky is universal. He was, is and remains so for everyone, at least when it comes to his compatriots - whether they lived at least during the time of the author, at least a century and a half later. It won’t sound original, but it’s a classic – it’s a classic because – change the scenery, take different costumes, tweak the names and (a little) speech of the characters – and here it is, ours today. “Simplicity is Enough for Every Wise Man” confirms this rule no worse than Ostrovsky’s other comedies. Especially in the production of the Maly Theater.

The story of a young man who is trying to “get out into the world” is more relevant than ever. After all, the set of techniques has changed little over time: find yourself a rich patron, become part of his circle, receive several lucrative career offers, and finally enter into a profitable marriage. And all this is thanks to the ability to adapt to the “right” person, to flatter, please, and turn circumstances to your advantage at the right time.”

“For Every Wise Man...” - not only is the play old in every sense of the word, it is also based on Ostrovsky’s play, which for Maly is a kind of fetish. Ostrovsky, who seems so approachable, is no joke today - he is so accustomed to being solved through the grotesque and the absurd that a realistic, everyday interpretation may not only seem boring, but also reveals all the weaknesses of his dramaturgy, including the best plays, Among which is “For Every Wise Man,” it is not for nothing that major directors staged it, from Tovstonogov to Zakharov, and solved it precisely in a grotesque key.”

Vladimir Beilis – director

Time for News, October 9, 2002

Alexander Sokolyansky

It turned out as always

Everyone in Maly knows how to play it

The Maly Theater premiered: “Enough Simplicity for Every Wise Man,” one of Ostrovsky’s best comedies. How many times it was shown on this stage is known only to specialists; How many times will it be shown, any theatergoer can easily answer: a million. And a thousand times on tour.

“For Every Wise Man...” is an immortal performance. Even more immortal than the Moscow Art Theater “Blue Bird” and Vakhtangov’s “Princess Turandot”. They retain a certain attachment to their original appearance, and “The Sage” at the Maly Theater can be staged by anyone and in any scenery. This performance is modified, updated, altered, but in its essence always remains exactly the same as your great-grandmother saw it.

The critic of “Birzhevye Vedomosti” M.F. wrote in 1868: “It is clear that the content here is a completely secondary thing, since the author’s main task is to present a gallery of typical personalities<...>Mr. Ostrovsky did not spare the colors; the personalities came out typical and prominent, but in places exaggerated.” I join the judgment of my long-deceased colleague with one reservation: Fedorov was not entirely right, since he transferred his opinion about the performance to the play.

It is on stage that the content of this comedy turns out to be a “side thing.” The play, now staged by Vladimir Beilis, is unlikely to break the tradition: the director was much more concerned about the “relief of personalities” than about understanding the plot.

Ostrovsky presents us with a rather scary story. His hero, Yegor Glumov, smart, angry and talented, at the end of his youth decides: stop fooling around, it’s time to make a career: flatter, lie and please. His conscience torments him somewhat, but the hero finds a compromise: “I will sell all the bile that will boil in my soul in this diary...” - and the diary, of course, will float to the surface at the most critical moment. It will be read out publicly, all of Glumov’s patrons will be terribly offended, and the new destiny, before it has even begun, will crumble to dust. Glumov will have to start all over again - and now he will have to be mean without any compromises.

A decent person, Ostrovsky explains to us, is quite capable of ingratiating himself into a society consisting of big-time fools and successful scoundrels. At the same time, however, he will not gain anything for himself, and in the end he will have to say goodbye to the remnants of decency. Is it acceptable?..

Essentially speaking, the role of Glumov, the “scoundrel hero,” is intended for a great actor, such as Lensky in the Maly Theater (1876) or Kachalov in the Khudozhestvenny Theater (1910). In Beilis's production, it is conscientiously performed by Alexander Vershinin - without at all pretending to dominate the plot. The most important figures are those who are the most prominent: the rich prude Turusina (Elina Bystritskaya), the retired general Krutitsky (Viktor Korshunov), the voluptuous Cleopatra Mamaeva (Irina Muravyova), etc. They play impressively, sweepingly, with arrangement. Everyone, thanks to the inventive Baileys, has their own quirk. Turusina has a secret decanter with tincture (her heroine has not yet completely said goodbye to the sins of her youth); Krutitsky (the youngest of the Krutitskys I have seen) has cast iron weights for gymnastic exercises... Muravyova makes full use of her characteristic facial expressions: purses her lips, puffs out her cheeks, puffs up her eyes and clumsily plays with a fan - this partly looks like a caricature of her previous roles as passionate provincials ( “Moscow doesn’t believe in tears,” etc.), but that’s apparently how it was intended. It is clear that this premiere will be a success - even, quiet, long - as it should be at the Maly Theater.

Culture, October 17, 2002

Irina Alpatova

Ostrovsky "with a way out"

“Simplicity is enough for every wise man” in Maly

As you know, the young man Yegor Dmitrievich Glumov decided to preface the treatise of the Krutitsky retrograde with a fateful title: “On the harm of reforms in general.” By the way, this phrase is partly relevant for the Maly Theater itself. It’s not that all sorts of reforms are really harmful “in general,” but in Maly they somehow don’t take root very well. When they want the best here, it turns out not as always, but sometimes much worse. Perhaps that’s why the director of the next version of “The Sage”, Vladimir Beilis, decided to take a rather traditional path, which in this situation is not a reproach, but just the opposite. The director chose not so much to impose his vision of the play on the audience, but to hide behind the actors, presented, as usual in Maly, in close-ups, and even coupled with spectacular solo numbers. Therefore, the audience's impression directly depended on the level of the actor's professionalism, temperament and taste boundaries.

Beilis, of course, did not forget that Ostrovsky’s play is relevant for all times, but he took it for granted and did not dwell on allusions. Although often this or that remark was drowned in spontaneous applause. Another thing is more important - the director did not renounce the genre definition of “comedy” and built the action entirely according to its laws, that is, he mainly entertained, teaching only in part. This genre justifies a lot - musical and dance excesses, lapsing into caricature and caricature, and certain acting “liberties.”

However, the eternity of the Russian plot is wonderfully reflected in the inventive scenography of Enard Stenberg. Three eras of the century before last, inscribed in the life of Moscow inhabitants, easily came together on one stage. The apartment of Krutitsky, an admirer of Lomonosov-Derzhavin odes, pleases the eye with classicist paintings on mythological subjects, a dummy knight, a bronze cupid, and numerous deer antlers. The Mamaevs have a more modern ambiance, with elegant portrait “heads” and impressive-looking mirrors. Glumov decorated his modest home with impressionist photographs and paintings. When the scenery changes, the rotating and darkened stage is filled with smoke. Nothing other than “the smoke of the fatherland.”

However, like external signs, the lifestyle of the homeowners is tightly fused with their favorite era. They do not want change “at all.” In an established world they feel like fish in water. They are only known as “liberals” or “conservatives”, they themselves are surprised at the sonorous names. And out of boredom they amuse themselves with frivolous activities. For example, Nil Fedoseich Mamaev - Alexander Potapov, likes to look at apartments. He comes in, looks around, sits down imposingly and lets talk with his tongue, interspersing platitudes with teachings, accompanied by the raising of a pointing finger. The elderly Krutitsky - Viktor Korshunov does not even want to think about his years - easily handles heavy weights, and is not averse to immediately performing an incendiary “dance with sabers,” for which the last attribute is borrowed from the knight. He is a big hunter of the female sex - he is wooing both Turusina and his own maid (Anna Zharova). Even though he only drinks milk. The same cannot be said about Turusina - Elina Bystritskaya. The prude widow has in her watch a cunning secret stash of liqueurs, which she uses every now and then with all the ensuing consequences, such as singing romances and simple dances. In the end, the tongue finally gets stuck, and the lady prefers to calm down on the sofa.

In general, the luminaries of the Maly Theater are allowed to “break away” and misbehave to their heart’s content. Add here the hilarious Manefa - Tatyana Pankova with her eternal jokes and the same desire to break into a dance, despite the solidity of her complexion. They do this with visible pleasure, the reaction in the audience is appropriate, despite the partially lost acting “virtuosity”. Although no one demands “the life of the human spirit” from them, comedians are allowed some roughness in form and content. Those who are younger, however, are also not lagging behind. The buxom Cleopatra Lvovna Mamaeva, in the temperamental performance of Irina Muravyova, flutters around the stage like a weighty pink butterfly, flirts recklessly, trying with all her might to prolong the elusive love affairs. Matching her is the brave Gorodulin - Alexander Klyukvin, a kind of mixture of a loud martinet and someone in a high position.

It is clear that the novice “careerist” Glumov - Alexander Vershinin can cope with such a company without difficulty. You might even think, is this game worth the candle, and the game worth the trouble, if the goal of all this is to find yourself in such company? Vershinin, who successfully mastered the role of a cynic-scoundrel back in the role of Molchalin, confidently fits into this game, provoking it. He easily produces a cascade of comedian constructs - from righteous anger to flattering servility. He fawns and shouts, falls to his knees and paces, lies and confesses. And when, in the revealing finale, he jumps into the auditorium and from there recites his last sarcastic monologue, you just want to push him: if only you, Yegor Dmitrich, would have run far away from here, you see, and would have survived mentally and physically. However, Ostrovsky does not envisage such an ending.

Century, October 18, 2002

Alexander Smolyakov

Even the wise man will not answer here

Ostrovsky was “modernized” in Maly

The Maly Theater once again staged Ostrovsky. They staged a well-known play that is often performed on different stages - “Simplicity is enough for every wise man.” This is the first premiere of the current season, the performance is undoubtedly a programmatic one - the audience is even offered a specially published newspaper, where the production director Vladimir Beilis explains the features of his interpretation and justifies it. What is offered to the audience?..

The artistic director of the academic Maly Theater, Yuri Methodievich Solomin, in an interview given to the author of these lines, said: “The Maly Theater is a classic, it is the tradition of the Russian stage.” In this case, “Simplicity is enough for every wise man” offers a very unexpected, if not strange, interpretation of these traditions.

Turusina here “want to sing and dance so much that she even starts drinking.” Her niece Mashenka matches her - “a sexually preoccupied girl, for whom the main thing is that she only has a man.” Do not think that the above is an evil libel of a young theater critic (and it is customary to scold young critics today) against the illustrious group. The quotes enclosed in quotation marks are the words of Vladimir Beilis himself, quoted in the above-mentioned newspaper. Continuing what he started, it would be fitting to call this review “A sexually anxious girl on the stage of the Maly Theater.” Only respect for the great Small One keeps...

However, let's leave Beilis's printed opus and turn to his stage opus. It all starts with the cheerful, sort of cancan music of Sándor Kallos. Then for some reason they reveal to us the entire depth of the stage space, but filled with smoke. Then a screen is lowered, indicating Glumov’s room. It must be said, by the way, that the scenery of the untimely departed Enard Stenberg is perhaps the only undoubted success of the performance. Dark draperies, creating a conventional 19th-century feel, go very well with quite everyday props. The decoration of Turusina's house delights with the riot of autumn colors, contrasting with the white muslin of the curtains.

Alexander Potapov plays Mamaev, all preoccupied with being characteristic. His Mamaev, a slacker and a talker, lectures Glumov with such immense pleasure, and then believes in his flattery with such naivety that there is no need to talk about any plausibility in his behavior. The character of Mamaev was written by the playwright with a fair amount of satire and not without elements of the grotesque, but what is missing there is unambiguity!

Irina Muravyova (Cleopatra Lvovna) either runs skipping like a girl, then suddenly speaks with “sensual” intonations, forcing the farce, and, frankly, such comical behavior emanates a painful feeling of strain.

Only Alexander Vershinin in the role of Glumov, it seems to us, is groping for his consistent tonality. He clearly distinguishes between Glumov when he is alone - without witnesses, and Glumov in public, as if hiding under a mask. In the finale, this character becomes cold and impudent. He does not denounce, he only states, reports facts, and here suddenly the modern thing that is in this play by Ostrovsky begins to sound.

In the supporting roles (Turusina and Krutitsky) there are recognized masters - Elina Bystritskaya and Viktor Korshunov. You look and think: how offensively little they are involved in the repertoire today! You can imagine how interesting it would be for Korshunov to play Matthias Clausen in Before Sunset! And what a magnificent Elizabeth Tudor in Schiller’s tragedy Bystritskaya could become! Fortunately, Schiller is no stranger to the Maly Theater.

The duet of Turusina and Krutitsky begins casually and even elegantly. They flirtatiously exchange remarks, as if making an elegant parody of a classic operetta. But the director inexorably destroys the mood created by the masters, coarsens and pedals - and now Krutitsky pushes Turusina onto the sofa, merging with her in a kiss...

Beilis introduced the most serious acting forces into his performance: Potapov, Muravyova, Korshunov, Klyukvin, Bystritskaya, Pankova... Why? To “modernize” a classic play in such a primitive way?

Many young people, even schoolchildren, came to the premiere of “The Sage”. What will they take away from the performance? Now they will tell you at the literature exam that Turusina is an alcoholic?! And how can we explain to them that the Maly Theater is a shrine for every cultured person in Rus'? Every sage will be puzzled by these questions.

Literary newspaper, November 21, 2002

Gennady Demin

Hunting for women

Having attended the latest premiere at the Maly Theater, you feel sympathy for feminists. Because “Every Wise Man Has Enough Simplicity” is a performance that demonstrates the strength of the fairer sex. The work of almost each of the participants in the production can be viewed for a long time, carefully, and with pleasure as a valuable work of stage art in its own right.

Stunning Tatyana Pankova in the role of Manefa, a dark and impudent, stupid and omnipotent fortune-teller: she really does have animal power - from just her glance, as from the eyes of a boa constrictor, people freeze and tremble, losing the strength around them.

Victorious and touching, royally capricious and hilariously simple-minded, sincerely suffering from her own stubbornness and equally naively despotic Turusina from the attractive Elina Bystritskaya.

Claudia Moiseeva’s Glumova is a nosy and fussy little bourgeois, a creeping and tenacious creature, taking revenge on the whole world for her own failed life.

Luxurious and inventive Irina Muravyova, in whose Mamaeva’s dissatisfaction with fading female flesh and pretentious romance are intertwined into a whimsical, sophisticated and painfully funny pattern.

I want to savor all the gestures, movements, and intonations of the actresses like a gourmet, enjoying every second their appearance on the stage of Ostrovsky’s house.

For such brilliant diamonds, a suitable, decent setting would be needed. Alas, they ended up in the hands of director Vladimir Beilis, who was clearly insensitive to their charms. If the set designer - one of the last works of the recently departed Enard Stenberg - gave what was happening a cosmic scope, filling the huge space with an alarming pre-storm atmosphere, then the director, on the contrary, is all complacent and sad. Lazy, slow rhythms constrain the performers, depriving the action of tension and elasticity. One of the best Russian plays, with its tight intrigue, is translated into a sluggish narrative in which the actor's energy is wasted.

True, at the end of the performance the director seemed to perk up and decided to compensate for the dullness of the previous one with a defiant technique: the main character jumps into the auditorium and walks among the audience, sending revealing phrases to those remaining on stage. Such modernization of the classics was in fashion 40 years ago, but today it only emphasizes the contrast between the brightness of the acting and the secondary nature of the direction.

I remember that at some point the Golden Mask experts said that throughout Russia it was impossible to find a single full-fledged female job. It seems that the would-be specialists have found followers, and the attack on actresses continues. But to no avail - against the gray background of the production, the inflorescence of female images is only brighter.

What can a person do to achieve his goals? How to achieve high social status and not discredit your good name? You will find out the answer to these and other questions by attending the play “Simplicity is enough for every wise man” 2019.

Ostrovsky's plays are treated with special reverence and love in Maly. The author of the production “Simplicity is enough for every wise man” was the famous theater director, People's Artist of Russia Vladimir Beilis. This play is not only food for the mind, but also spiritual nourishment, incredible emotions and a huge portion of aesthetic pleasure.

The performance features the best artists of the troupe, including Honored Artist Vasily Zotov, Honored Artist Larisa Kichanova, Sergey Eremeev, Boris Klyuev, Liliya Yudina and many others. And although the production has already been performed several hundred times, the actors perform their parts with the same enthusiasm and pleasure as they did on the day of the premiere.

The play “Enough Simplicity for Every Wise Man” in Moscow in 2006 won the Russian Government Prize in the field of culture.

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You are welcome to the play “Enough Simplicity for Every Wise Man” at the Maly Theater!

Irina, 29 years old, April 7, 2019

We attended the play “Simplicity is enough for every wise man.” I really liked it! All the actors played very well, there is absolutely nothing to complain about. Alexander Khatnikov was a discovery for me! I really liked his character and the way he played, how he conveyed the image, we will definitely come to a performance with his participation again.

Svetlana Vasilievna, 56 years old, March 6, 2019

A wonderful performance: “Simplicity is enough for every wise man.” All the actors are good, even in small roles they are very expressive. Gabrielyan in the role of Krutitsky is amazing.

Natalia, January 20, 2019

In my Soviet childhood there was a two-volume copy of Ostrovsky’s plays in our bookcase. From it I read one “Dowry”, because a film was made based on it. On my mother’s advice, I read “Simplicity is enough for every wise man.” I really liked this play, so I later re-read it several times. And recently I was lucky enough to see the premiere of this performance at the Moscow Art Theater. M. Gorky. I am absolutely delighted with the performance! The text of the play has been completely preserved, the acting is wonderful, and what costumes and scenery! Three hours of pure pleasure. I recommend it to all fans of classical productions. The images of the heroes that had been in my head since childhood completely coincided with what I saw on stage, with the exception of Nil Fedoseevich Mamaev (artist A.R. Khomyatov), ​​I imagined him as an overweight, fat merchant). I really liked the acting work of S.E. Gabrielyan (Krutitsky), E.V. Katysheva (Turusina), and of course, the main character - Egor Dmitrich Glumov performed by Alexander Khatnikov - is simply incomparable! I would also like to say thanks to the artist V.V. Fedotiev and costume designer E.E. Yarochkina. Thanks to their beautiful scenery and costumes, watching the performance is as if you were reading a superbly published book with live illustrations.

Oksana

I love classic, time-tested works, the relevance of which is still relevant today. “Simplicity is enough for every wise man” A.N. Ostrovsky is one of them, and of course I could not miss this performance. Moreover, in the theater that I have fallen in love with recently - the Moscow Art Theater. M. Gorky. This theater itself is a cultural attraction. A monumental building, huge spacious foyers, wide staircases, a unique atmosphere, excellent acoustics. The interior is made in brown and olive tones, the light is dim, which creates an atmosphere of mystery and majesty. Separately, I would like to draw your attention to the fact that the hall of this theater is made with such a slope that the stage can be clearly seen from any place. “Simplicity is enough for every wise man” - a simple and at the same time brilliant thing. The performance is staged in the best traditions of academic theater. Perfectly chosen actors, each in his place. I really liked Glumov and Mamaeva, who was in love with him! I don't want to go into details. If anyone hasn’t read it, the play is about the fact that no matter how smart you are, you won’t be able to foresee everything. “Simplicity is enough for every wise man” always sounds sharp and topical. How can you make a career and get out into the world? How are human reputations created and destroyed? A young man from a poor family, Yegor Glumov, is smart and cunning, angry and envious. To achieve a high position in society, he deftly flatters and dissimulates, does not shy away from slander or bribery, skillfully takes advantage of the weaknesses of his patrons and wins over both the conservative and the liberal, and the socialite, and a very young lady... The performance looks good on one breathing, there are no drawn-out and boring scenes. I really liked the frequent change of scenery. And the scenery in this theater is always very beautiful and carefully thought out. And what costumes! It is clear that everything is brand new, brand new, and not moth-eaten. I recommend the performance to those who love and appreciate Russian classics, who are interested in Ostrovsky’s work without interpretations and new stage readings...

Inessa Savelova, January 24, 2019

When I want to watch a classic performance based on Russian classics, I go to the Moscow Art Theater. M. Gorky. It is famous for its abundance of repertoire performances based on plays by Chekhov, Gorky and, of course, Ostrovsky. One of these is V. Beilis’s production of Ostrovsky’s play, “Enough Simplicity for Every Wise Man,” which was previously unfamiliar to me. The plot is vaguely reminiscent of Guy de Maupassant's "Dear Ami": a handsome and intelligent young man from a poor family strives by hook or by crook to enter high society. This is Glumov (A. Khatnikov) - whose goal is to get a more profitable service and marry a rich bride. The rich uncle Mamaev (A. Khomyatov) becomes his passport to the world he so desires... Before you know it, Glumov’s career is already taking off: he is recommended to both the important old man Krutitsky (S. Gabrielyan) and the important young Mr. Gorodulin (A. Karpenko). For one, you need to rewrite a huge, tedious treatise on reforms in a more modern language, and for the other, you need to compose a witty speech for friendly gatherings. Glumov also goes like clockwork with women: Mamaev’s wife, Cleopatra Lvovna (Yu. Zykova), is in love with him. He himself dreams of marrying the rich heiress Mashenka (A. Rubeko)... Glumov makes only one mistake: he writes all his thoughts and actions in a personal diary, which falls into the hands of Mamaeva. Offended by the news of his marriage to Mashenka, she decides to take revenge. Yes, Glumov is exposed in the finale: he is a cold, calculating careerist. But is the society that surrounds him much better? Krutitsky and Mamaev, ready to listen to Glumov’s obsequious conversations all day long, even though they know deep down that this is rude flattery. What's good about Mamaev, who himself advises Glumov to look after his own wife? And in Cleopatra Lvovna, who openly tells Glumov’s mother that young men do not need intelligence, and she will provide him with a future? And in Turusina, who has surrounded herself with hangers-on and fortune-tellers and sacredly believes everything they say? agreed and carried him in their arms. Society is deeply hypocritical - but it’s true, one of the “even and noble people” allowed himself to steal his personal diary! The end of the play is atypical: it proves that although society is deeply mired in its vices, maybe it is not so stupid as not to notice it? And people like Glumov will always be needed (just like Georges Duroy, I can’t get rid of the associations). I would like to note all the artists: the images they created turned out to be funny, bright and memorable: from the performers of the main roles (S. Gabrielyan in the role of Krutitsky is especially enchanting, of course) to the Georgian servant Grigory in the house of Turusina (A. Samoilov), who calls the mistress “My Charm!" or the wanderer Manefa (L. Kuznetsova).

Olga Bragina, January 14, 2019

Plays by A.N. Ostrovsky does not lose relevance these days, so I simply could not miss the premiere of the play “Enough Simplicity for Every Wise Man” (produced by V.M. Beilis). The object of satire is the way of life of Moscow noble society during the reign of Alexander II. And an example of this is the main character - Egor Dmitrich Glumov (artist A.A. Khatnikov). And the costumes (designer E.E. Yarochkina) and scenery create the effect of 100% immersion in the era. In the performance that Glumov puts on in front of each of the people he “needs,” we see a real scoundrel and at the same time, his intellectual superiority over the other characters makes the viewer rejoice at his success! We see before us a cold, calculating person, immersed in personal interests, ready to do anything to achieve his goal, which boils down to one word - career. Performing performances in front of everyone with whose help he hopes to succeed, Glumov begins to keep an “evil diary”, where he very poignantly describes his benefactors. Glumov's intelligence is manifested in the fact that he understands: for success in society, intelligence is not needed, it must be hidden in your pocket, like he hides a diary. “They need to be flattered. That’s the whole secret of success,” he says. But flattery alone was not enough. Glumov has to shamelessly act out, accumulating after “meanness in manners” and “meanness in the soul.” By pouring out the anger and bile accumulated during communication into his diary, keeping a “chronicle of human vulgarity,” Glumov thereby turns into a vulgarity. An instant change of images reveals to us Glumov as an unscrupulous buffoon, performing a lackey's position under the powers that be... The exposure of Glumov in the finale is the most interesting moment in the play: the hero pronounces an ardent accusatory monologue, and the viewer understands that over time Glumov will be forgiven, because he He is absolutely right when he asserts: “You need me, gentlemen. You can’t live without a person like me.” And the society of the Mamaevs, Krutitskys, Gorodulins, finds that Glumov is necessary, “their own man” and that by slightly punishing him for the sake of appearance, they can caress him again. Glumov here completely merges with the society he opposes, and reveals a deep inner kinship with this society. “Simplicity is enough for every wise man,” Ostrovsky warns young people who want to embark on the path of unscrupulous gambling with life. P.S. This Comedy in 5 acts is included in the list of studied literature for 9th grade. It is imperative to add to extracurricular activities and a trip to this wonderful performance. This will be a colorful, emotional and memorable addition to dry reading in role-playing lessons!

Elena Bulyukina, January 11, 2019

For Christmas, my daughter and I gave ourselves a gift - we went to see the Moscow Art Theater. M. Gorky’s wonderful classic play “Simplicity is Enough for Every Wise Man,” directed by V.M. Baileys. The play by A. N. Ostrovsky was written in 1868, immediately gained popularity and was staged in the best theaters in the country. The roles always involved famous actors, for example, in 1910, when Vl. staged the play at the Moscow Art Theater. I. Nemirovich-Danchenko, Glumov was played by V.I. Kachalov, and Krutitsky - K.S. Stanislavsky. And at the Moscow Art Theater. M. Gorky, of course, this is not the first production... Yegor Dmitrich Glumov - an intelligent, charming, handsome, but at the same time cunning and unprincipled young man decides to make a career and marry a rich bride... And everything seems to have worked out for Yegor Dmitrich, when suddenly his a diary where he writes down his thoughts about others. I won’t write what came out of this, but we need to preserve at least some intrigue. But one thing I can confidently say is that the performance is simply hilarious, although it lasts almost 3.5 hours, it flies by unnoticed. All the characters are so well chosen that you want to watch them endlessly. I remember most of all Grigory, Sofia Ignatievna’s butler (A.V. Samoilov), a colorful Caucasian in a fur cap and Circassian coat with such an accent that every phrase brings a smile. Cleopatra Lvovna (Yu.A. Zykova) is also charming in her luxurious toilets; it seems to me that this type of woman is attractive at any age. And the dance with the saber of Krutitsky (S.E. Gabrieyan) captivated all the spectators. I was worried that Dasha might not like the performance, but in vain, she carefully followed the action and laughed heartily, like everyone present in the hall. Of course, the plot, invented by Ostrovsky a century and a half ago, will never cease to be relevant and attract viewers. The only minor drawback of the performance is that the intermission was done a little late, it would be better to move it 10 minutes earlier, otherwise you just get tired of sitting in one place, no matter how wonderful the performance is. In general, I recommend it to anyone who wants to cheer themselves up and watch classics on the stage of one of the best Moscow theaters.

Ekaterina Urzova, January 9, 2019

At the Moscow Art Theater. M. Gorky put “Simplicity is enough for every wise man” by A.N. Ostrovsky. And this is the rare case when there are no downsides. At all. I admit, I don’t really like Ostrovsky. But in January, Christmas trees come to the fore, so the choice of performances is not as large as usual. “Well,” I think, “let me go.” In the end, Alexey Nikolaevich’s plays are our history.” Story? Ha! Rarely have I heard such relevant text. Change the reality a little, and you can stage it in modern settings. Because all the phenomena described in the play have not disappeared in 150 years. Moreover, they blossomed. The story of how the poor young nobleman Yegor Dmitrievich Glumov successfully begins his rise to the top in Moscow society is extremely modern. Glumov: “You need me, gentlemen. You can't live without a person like me. If it’s not me, there will be someone else. He will be worse than me, and you will say: oh, this one is worse than Glumov, but still a nice fellow. (To Krutitsky.) You, Your Excellency, are, as they say, a courteous person in society; but when in the office, face to face with you, a young man stands at attention and, humbly assenting, after every word says “Your Excellency,” bliss flows through all your limbs. You will refuse patronage to a truly honest person, but you will rush to work for him at breakneck speed.” A plus to the entire team that worked on the play. Everything is perfect. And, what’s valuable, the premiere has just taken place, the actors have such courage, the costumes and scenery are brand new. By the way, pay attention to how carefully the details are worked out: paintings, vases, flowers, etc. And what costumes! Not every historical film can pull off such a wardrobe. The actors play perfectly and evenly: in the same style, no one pulls the blanket over themselves. The chairs are comfortable and have excellent visibility from any seat.

Tatyana Bessonova, January 25, 2019

Moscow Art Theater named after. M. Gorky is an absolutely magical theatre, a theater-palace, with huge spacious foyers and wide staircases. I probably don’t remember any other such ceremonial theater. It is very pleasant to stroll there royally during intermission. A visit to such a theater is a real holiday. I have already seen “Simplicity is Enough for Every Wise Man” at the Maly Theater, but not at the Moscow Art Theater. But in general, I like to watch the same performances in different theaters and compare. This is a warm feeling of contact with the classics, written a century and a half ago and staged with love for tradition, according to all the canons. Ostrovsky is now being replayed in all sorts of ways, and I’m interested in different productions, but if experimental theater is a shock and a shift in layers of consciousness, then classical theater is peace and comfort, the unclouded delight of recognition, meeting “old acquaintances.” Every time you are surprised at how relevant the types and characters are, how alive everything is and how understandable even the younger generation of artists is. I really liked the actors, and among them there are four honored artists, they fit perfectly into the character and are still as funny as always. Excellent authentic scenery, nothing superfluous and nothing missing. You know, the style of the productions at Maly and the Moscow Art Theater are similar. But the fact is that the director is the same - Vladimir Beilis. I noticed it by chance and was surprised! Only at the Moscow Art Theater there is a more recent performance, the premiere took place in November last year. And it turned out to be even more exciting: one performance staged by one director on different stages. It looks new every time, because these bright images are created by talented actors, and each has their own flavor. And Ostrovsky is for all times, the path will not be overgrown, as they say.

Iya Yakovleva, December 7, 2018

Moscow Art Theater named after. Gorky is really Ostrovsky’s house. This play has an edifying plot in which there are no positive characters at all. At the same time, none of the members of this society is a criminal. And so... just scoundrels or weak-willed, completely ordinary people, none of them (and us) are without sin. In some places, by the way, the characters in this play are quite charming. Perhaps their charm sparkles only thanks to the actors, and not the playwright’s idea? The best couple on stage this evening, in terms of talent and charm, is Krutitsky (Sergei Gabrielyan) and Cleopatra Lvovna (Yulia Zykova). Fire! Cleopatra Lvovna, for example, is an exquisite lady, she knows how to wear beautiful dresses, but she completely forgets herself, she so wants to captivate young people, and also to shine, she wants so much that she is ready to be deceived. On the subject of sincere passion. She is an instrument of revenge against the vile deceiver. An impressive weapon that hits right on target. However, not on the spot... A young and ambitious man, Yegor Glumov, is not so easy to overwhelm. For he has not only youth, but also intelligence, talent, and invention. Because for a career you have to spin faster than Krutitsky. Convincing image. And there are not so many of them. The ability to be mean under any circumstances is something that there are always enough hunters to do, but not everyone is given the ability to create a personal master plan and act according to the system. He needs to write a treatise for the extremely conservative Krutitsky, at the same time composing a suitable speech for the liberal Gorodulin, run off on business for a rich bride and her prude aunt with a scandalous past, listen to his uncle’s boring educational speeches and court his aunt. There are so many tasks, but Glumov is the only one. And everyone really needs it. Flat or not so interesting characters like Mashenka, the rich bride, her chosen groom, the hussar, the nosy mother and hangers-on - that’s all here too. They shade the stars properly. The rich widow Turusin, played by Elena Katysheva, did not very convincingly pretend to be a saint. The actress’s voice came as if from a closet, monotonous, slightly creaky. This socialite Sophia is more for the ball, for the dance floor. The scene of Krutitsky reading monologues in the style of classicism in front of Cleopatra Lvovna is unique, for my taste. And funny and wonderful at the same time. In general, the result is an instructive comedy on the theme of deceit without love - and it teaches us while entertaining us. We leave the hall, raising a skeptical eyebrow and condemning the society of intriguers. It's nice to do it. We're not like that. The hall is full of exceptionally decent people... And the ill-mannered old ladies who were sitting next to me really liked the decoration. Drawing of a city corner with a church, on a Moscow street, light and watercolor. “That’s right, at least they’re trying, but sometimes it’s two chairs and a bucket, where is the artist’s work?” The grandmothers, who sought the artists’ work, unwrapped the candies throughout the entire performance and ate them, crunching them, but, to be fair, they did not slurp. Theater shows.

Nadezhda Nikolaeva, December 25, 2018

We watched a wonderful performance at the Moscow Art Theater. M. Gorky “Simplicity is enough for every wise man” based on the play of the same name by A.N. Ostrovsky is a genius of Russian literature. It was unforgettable. A true classic of the genre... Yes, Ostrovsky is a great writer, capable of seeing the flaws of society and describing them in his works. The main character Yegor Glumov is unlucky: he has many talents, but due to his origin, lack of connections and capital, he has no opportunity either to enter the public service or to marry a rich bride. This young man strives to become one of the people, playing on people’s weaknesses in every possible way. In order to achieve his goal, he is ready to listen to the stupid instructions of Mamaev’s rich relative, edit Krutitsky’s treatises on the dangers of reforms, and hit on his aunt at his uncle’s request so that she does not pay attention to other gentlemen. And all this in order to marry profitably and get a place in high society. But “for every wise man simplicity is enough,” something went wrong, and his brilliant plan to conquer a place in the sun is revealed. His ill-fated diary was read in front of everyone, where he ridiculed his “benefactors.” He courageously, looking into the eyes, honestly and openly points out the shortcomings of others. And Glumov appears to us as a much better person than those around him...

Lyudmila Kraeva, December 5, 2018

November 29 at the Moscow Art Theater. M. Gorky premiered the play based on Ostrovsky’s play “Simplicity is Enough for Every Wise Man,” directed by Vladimir Mikhailovich Beilis. The main character Yegor Glumov decides to make a dizzying career; for this he needs to make acquaintances in high society and marry profitably. He gains the trust of a distant relative, a wealthy gentleman Nil Mamaev and his wife. Glumov has to flatter a lot, curry favor, and sometimes pretend to be stupid. He trusts his true attitude towards others and his real feelings only to his diary, into which he pours out all his bile and describes the high society in unflattering terms. But when the main character, at the peak of his triumph, meets the most influential people and finds a rich bride, everything collapses in an instant. Due to his carelessness, Glumov loses sight of his diary. At the bride's dinner party, the cards are revealed and everyone who helped Glumov achieve his goals finds out what he really thinks about them. A performance with deep meaning that shows how cynical attempts to deceive people can turn out. For the second time I saw the performance of actor Alexander Khatnikov, and each time he reveals a new side: either he is a jealous Othello, or he is a sycophant Glumov. Moscow Art Theater named after. Gorky is famous for its classic productions of works by famous authors, so those who don’t have time to read a book can go to the theater.

Olga, 46 years old, January 8, 2019

A wonderful performance, as always, wonderful production, scenery and costumes. One of my favorite plays by A.N. Ostrovsky. S.E. Gabrielyan, E.V. Katysheva and Yu.A. Zykova is a direct fit for the role, very talented and brilliant. A.A. Khatnikov carried the main role through the entire storyline of the play steadfastly and convincingly, but without the ease that I involuntarily recall from M.I. Tsareva in the old production of the Maly Theater... In general, we watched the performance with great pleasure, thank you very much. I am convinced again and again that the Moscow Art Theater named after. Gorky is one of the few theaters that preserves traditions, holds a high bar for the title of academic, and where you want to return again and again. I really hope to see the entire main repertoire.

Anna, 42 years old, January 4, 2019

We watched “Simplicity is enough for every wise man”: complete delight!!! Very strong production and great acting! 3 hours in one breath, you simply fall out of reality, immersing yourself in what is happening. We are impressed. I love this theater, keep it up! I would like to add to my review: Korotaev in the role of Glumov is incomparable!!! Plays great!

Olga Erdyneeva, December 25, 2019

Moscow Art Theater named after. M. Gorky: About simplicity and sages Ostrovsky is a classic. And a well-staged classic is pleasing to the eye, ear and heart, as I was once again convinced. A performance based on his play “Simplicity is enough for every wise man” at the Moscow Art Theater. M. Gorky was staged well. It is about people, their characters, weaknesses and sins. The fact that, seeing all these human shortcomings, laughing at them, hoping to outwit everyone and get what you want through deception and flattery without a twinge of conscience, you can remain a fool. Worse, to become in some way the same as them... There are, in my opinion, neither entirely negative heroes nor entirely positive ones (well, perhaps Mashenka is a desired prize, a pass to a better life for the main character, and her beloved hussar). The rest are not good, stupid, proud, love to deceive themselves and others, hypocritically care about their image, are boastful... But at the same time, really, they are sometimes sweet and often charming. Like Glumov himself, who decided to go out into the public eye with the help of the patronage of those whom he could flatter. He is angry, hypocritical, also quite vain, does not disdain anything for the sake of his goal... But you feel sorry for him, he is smart, and sometimes charming and even brave. Well, people are like people... Initially opposing himself to all this mass of “powers of this world”, whom he has to run after, humiliate himself and flatter, Glumov in the end was exposed, but, nevertheless, these people accepted him into their circle , he is “their man” for them, they need him. Is this how a smart young man should initially build his career? Is it worth going to all lengths for this? Everyone is responsible for themselves. I liked the performance: the plot was carefully preserved and not spoiled, the characters’ characters were conveyed clearly and accurately, the scenery and costumes were gorgeous, I would like to separately note this - just a paradise for visual learners, in my opinion. Of the actors, I especially liked almost all the female characters, they have zest and charm, and there is a certain originality in the simple peasant women and hangers-on. And, of course, Krutitsky is incomparably good - Honored Artist of Russia S.E. Gabrielyan. Go, you won't regret it! Thank you!

Nadezhda Nikolaeva, December 25, 2019

We watched a wonderful performance at the Moscow Art Theater. M. Gorky “Simplicity is enough for every wise man” based on the play of the same name by A.N. Ostrovsky is a genius of Russian literature. It was unforgettable. A true classic of the genre, it satirizes the evils of society in its works. Yes, Ostrovsky is a great writer, only great people can see the flaws of society and describe it in their works. The main character Yegor Glumov was unlucky, even having many talents, but due to his origin, lack of connections and capital, he does not have the opportunity to either enter the public service or marry a rich bride. This young man strives to become one of the people, playing on people's stupidities in every possible way. In order to achieve his goal, he is ready to listen to the stupid instructions of Mamaev’s rich relative, edit Krutitsky’s treatises on the dangers of reforms, and hit on his aunt, at the request of his uncle, so that she does not pay attention to other gentlemen. And all this in order to marry profitably and get a place in society. But “for every wise man simplicity is enough,” something went wrong, and his brilliant plan to conquer a place in the sun is revealed. His ill-fated diary was read in front of everyone, where he ridiculed his “benefactors.” He courageously, looking into the eyes, honestly and openly points out the shortcomings of others. And Glumov appears to us as a much better person than those around him! What is surprising is the public, who, despite the fact that they were ridiculed in the diary, decided to punish him a little, and then bring him closer to themselves, since he is a “businesslike” person, that is, they need him, but he is also insolvent without them. The play was written 150 years ago, but what has changed in human relations? In short, nothing. Few people can honestly climb the career ladder and take a place in society. And those who are unlucky have a hard time: pleasing and constantly making compromises with their conscience in order to achieve success at any cost. But is such success necessary? The comedy by Alexander Nikolaevich Ostrovsky “Simplicity is enough for every wise man” always sounds sharp and topical. A brilliant production by People's Artist of Russia V.M. Beilis at the Moscow Art Theater. M. Gorky. And how relevant it is today! How wonderfully the actors played: Alexander Khatnikov (Egor Dmitrich Glumov), Olga Dubovitskaya (Glafira Klimovna Glumova), Yulia Zykova (Cleopatra Lvovna Mamaeva), Sergei Gabrielyan (Krutitsky) and everyone, all the actors involved in the play - three hours of amazing, well-coordinated acting games! Great performance! A real classic theater with beautiful scenery and amazing acting! I recommend the performance to everyone who loves Russian classics, who is interested in the work of A.N. Ostrovsky without new readings.

Dina Tanatova, December 10, 2018

Be sure to watch the premiere performance "Enough Simplicity for Every Wise Man"! Great cast! Not a single passing role!

Katya, December 10, 2018

And at the Moscow Art Theater. The premiere of M. Gorky has been released! An instructive performance. Everything is transferred to our time, everything remains the same. We laughed heartily, thanks to the cast, but learned a lesson for ourselves!

Anna, 59 years old

I was at the premiere of "Enough Simplicity for Every Wise Man." Excellent performance, excellent direction, excellent acting by all the actors. Very nice scenery and costumes. Thank you!

Alina Polyakova, November 29, 2018

Brilliant production by V.M. Beilis “Simplicity is enough for every wise man” A.N. Ostrovsky. And how witty, how good the play itself is! Yulia Zykova (Cleopatra Lvovna Mamaeva), Sergei Gabrielyan (Krutitsky), Alexander Khatnikov (Egor Dmitrich Galumov) - three hours of pleasure from well-coordinated, sparkling acting! One can feel that the actors are enjoying the text and the action itself. It seems to me that this performance will become one of the troupe’s favorites, just like “Crazy Jourdain” - a play of mischief. Go!