-You once mentioned that you decided to go to the theater on your own. Was it a childhood dream or a momentary impulse?
– No one knew I was going to go to a theater-related place. It was an accident, actually. At that time, I was studying management in College and was just at the draft age. The second registration has already happened, and I was encouraged that next year, as soon as I finish my studies, I will be taken to the army. This arrangement, of course, did not suit me. And so in the summer, when no one was in town – my parents were away, my sister was away, that is, everyone was on vacation-I decided that in any case I should go somewhere and… I entered the theater. I call my mother after that:
–Mom, I got in!
-Where did you go?”
-To the theater.
-What about social work and management?
You wanted to continue doing this at the University.
-No, that’s it. I’m staying here.
That’s how it happened.
Tell us a little about your student years. Was it difficult to learn what I remember most?
– This was something completely new. In the early years, it was completely turned inside out. As in all universities, however. After a couple of months, I sat down and thought, ” What am I doing here? What’s going on? Why are we doing all this?” There was nothing too complicated, but it was a different world altogether. Now I realize that I would not be happy to cram in some other knowledge, the same management or accounting. That is, something related to office work, which then seemed to be something to strive for. I grew up in a small town, then we moved to Nizhny Tagil and the best thing I could do there was sit in an office and earn money. But it turns out that you can put your life on something that you really like, and go somewhere with pleasure, and not drag yourself by force with words: “Jesus, when is Friday night?” Because, at least, the day off is now Monday, and everything in my head has somehow shifted by itself. This is really something else, that is, a profession as a way of life. It somehow intertwines with everyday life, your weekends, vacations. You are constantly doing this, watching, listening, watching people-who behaves as they do-and marking something for yourself. This is a special parallel track that goes in unison with the rest of life. A small one, more narrowly directed. What is student life? Each year was completely different from the previous year in the material and nature of classes. If the first year was mostly etudes and so on, then the second year we were divided into modern and classical dramaturgy, in the third we touched a little more on the classics and have already begun to put on graduation performances. In other words, we did different things every year. But there were difficulties. I retook some subjects twice: for some reason, religion and philosophy were not given to me. These are the subjects that I didn’t pass at all the first time, the case when something doesn’t go at all, but you understand with your head that you need to learn it. So it was really hard at times, but then the graduation performances started… my mother asked me every year whether I decided to stay in the theater or leave. For three years, I said I didn’t know. In the fourth year, we already played our first graduation performance “The birthday of Leopold the cat”, it was in the style of clowning. Our master (Vladimir Davidovich veide) did a brilliant thing then: he sent all the actors to rest for the New year, and the students worked for him all the new year’s campaign. But this is so, a digression. In the summer, I went to my home near Samara, and saw the play “These free butterflies”, which was running in the theater of our master for fifteen years, even with a five-year break. And on arrival, I offered to do this production with the course. He [the master] initially refused, but then in September he just came and handed out the roles. Learn, look, think. So after the premiere of this play, I came home and told my mother that I was definitely staying at the theater.
– What has had the greatest impact on you as an actor?
– I became interested in theater when I was still at school watching the play “Woe from wit” with Oleg Menshikov (a film performance based on the Comedy by A. Griboyedov, staged by the theater company “Theater partnership 814”, 2000), and that’s when I got it fixed in my head. In addition, we also had our annual high school literature balls. We danced nineteenth-century dances: polka, Mazurka, waltz. Everyone always came there in dresses and suits that were made especially for this event. There were some excerpts from the classics, and it looked very beautiful, even if it was “as far as”. But, perhaps, it was with” Grief from the mind ” that everything began, it made the most impression and served as a starting point.
– You are a drama and film actor by education. How did you come to the world of the musical?
– My voice broke for a long time, I had never sung before. Intonated cleanly sometimes, but did not sing. There was no skill at all. I mean, if someone opens their mouth and sings out of tune, but there’s still some vibrato in their voice because they’re breathing correctly, I didn’t have that either. But for some reason I really wanted to learn to sing for myself and just like Chester (Chester Bennington, American rock musician, vocalist of the band “Linkin Park”), that is, to yell and make a face. I tried to do something, but nothing worked, of course. In my first year at the beginning of the year, I had an audition for optional vocals, I decided to go to it, but I was not accepted and was told that I did not need to sing. Then in my second year I took part in a University-wide vocal competition, and it was really scary, because I had never sung in public before. I think I was performing Dima Bilan’s song “It was love”at that time. Of course, I didn’t borrow anything, and I didn’t even have a record left. Everyone else was removed from our faculty for some reason, but I was not: it was probably too bad. Of course, the teachers with me, consider, did not study at all – there was no point, because the course is not musical, why waste time on it, and so on. And then, in the middle of my second year, I was offered to study with a woman who taught a music course in our Department. I came, she listened to me, I did something and after the lesson I came to the conclusion that it is better for me not to sing, why it is necessary. Then I went to her for the second time – the program required me to attend classes once a week – then for the third time and something even started to turn out. And for the fourth time, I went to see her myself after hours, and so I started going every day. And I after all when the first time still came, honestly said, that want sing as Chester from “Linkin Park”, and teacher something on academic vocals (Natalia Vladimirovna Skorokhodova). She said we should try to get our breath out first. And as a result, we literally immediately agreed that we began to sing not academic things, but something from popular music and just from musicals. It was easier to sing musicals because it was clear what they were singing about, although for me the technique was important first of all – I didn’t understand how all these vibratos were made. They sang “Notre-Dame de Paris”, a French musical based on the novel by V. Hugo” Notre-Dame de Paris”), one of her students I heard” S. O. S. d’un terrien en detresse “from” Starmania “(“Starmania”, a French rock Opera), and started singing on it. So in my third year I heard the rock Opera Mozart (“Mozart, l’opera rock”, a French musical) and started to learn compositions from there, and in my fourth year I sang them. Then I graduated, worked in the theater, but went to study with her for another year. My master of the course saw that I was singing, and constantly let me sing in children’s performances, where musical numbers are a frequent occurrence. And it was in this year that I began to think about trying myself in musical theater. After the second year of my studies, I took my teacher as a safety net and decided to go to the musical Comedy Theater in Yekaterinburg. They listened to me there and told me that a course was being produced that needed to be attached somewhere, and that a choir would be formed out of them, and I was accepted into it. In theaters, especially repertory theaters, there is a division into chorus and soloists. But I refused, deciding that I would not join the choir. Then we put on the play “White nights” by Dostoevsky with Anfisa Ivanova, a student of Anatoly Praudin, who brought this production to us in Nizhny Tagil. After that, we took him to the festival, where he was celebrated, and received criticism from a Saint Petersburg magazine. Then I was offered to audition for the St. Petersburg theaters, if I wanted to. I wanted to and went to St. Petersburg. I saw a competition in the Musical theater “Karambol”, auditioned, and I was accepted. And, by the way, I came there with Salieri and his “L’assasymphonie “(from the musical”Mozart, l’opera rock”).
–There is an opinion that the artist is somehow a hostage of one image. In your opinion, is this the case?
–This image is called a role. There are different divisions of the role: romantic hero, social, witty, and so on. Of course, in musicals in particular, it is easier to let the artists play without resistance. That is, you just, roughly speaking, sing, play – you do not need to pretend anything special. Actually, this is why auditions are held in the musical theater, specifically to identify such people who will play a certain role in itself harmoniously. So that you can look at the person and immediately be clear: he is, for example, Captain grey. I’m sorry, of course, but Yaroslav Bayarunas can’t be Captain grey just because of his type. And here comes Kirill Gordeev, and we immediately understand that this two – meter giant is Captain gray. This is convenient for musical projects, but in the repertory theater – although the typology is still present-they often give roles for resistance, and we can see how different artists play completely opposite characters to themselves. I am really lucky that now in Moscow I have the opportunity to perform different roles. Played by Alfred (“the Vampire Ball”, Moscow youth Palace), there was Raskolnikov (“Crime and punishment”, Moscow musical theater) – absolutely the opposite character. Now there should be albert (“Monte Cristo”, Moscow operetta theater), he will be the third – a statuesque young man who has everything in life well – a completely different image. Just had Dalamar (“the Last test”, RIFgroup), I think this is an absolutely sharp character. In any case, this is what the Director demanded of me, and I tried to match this vector. I’m really lucky that I have the opportunity to Express myself in different ways in projects. Light (“death note”, production center “Pentagram») the type is very similar to Raskolnikov, so I do not distinguish it, the same direction. There was also Sam (“Ghost”, Moscow youth Palace), I really did not play for the audience, but the role was passed – we rehearsed, we had runs. By the way, Sam was the hardest one for me. It was a year of mad work on myself, on my body, it gave me a lot, I started going to the gym, for example. People who don’t talk to me closely noted that I changed after that. It’s a pity that we didn’t manage to play fully, of course. So, I think that the artist just needs to try to break the boundaries of the role, but we are still his hostages, so this is a very correct saying.
– You have recently joined several new projects, including the fantasy musical “the Last trail”. Was it your initiative or were you invited?
– A little more than a month ago, I think, there was a stream with Yevgeny Yegorov and Elena Minina, I watched it and thought: why don’t I just ask in public if I can somehow get into their troupe? I mean, you know, you can sit for a long time and expect that you are so cool, you played someone three years ago, and now you will be called everywhere, but you can rely on fate and point your finger at the sky-suddenly you will hit someone in the eye. So I wrote, and something, somewhere, probably worked-two days later, a producer wrote to me with an offer of cooperation. Somehow it turned out that I got into the project not even on someone’s recommendation. In this regard, we can give an elementary example: here is a girl sitting at the next table, you like her, you want to meet, communicate and you have two options: either you do not approach her, or you will approach; in the first case, one way or another, the answer will be “no”, and in the second there is already a chance to hear “Yes”. Do you understand? Why not? And here it is exactly the same
–How does it feel to work with Ruslan Gerasimenko?
– As a Director, he is an extremely patient person and absolutely not a tyrant, not an authoritarian. At least not with us. In principle, he gives full freedom in the search, but at the same time sees a certain picture that he wants to get in the end. Besides, he has a certain faith in artists. Rehearsals were raided: in the evenings and at night. Somewhere I read in reviews something from the category: “the Guys feel so fine each other on stage, as if they worked together all their lives.” In fact, we finally met Sergey Smolin on the set the day before the performance. It’s nice that someone thinks that we have been working together for a long time. It is also fun to read things a La: “here is Dalamar Smolina so cool and stately, and Dalamar Kazmin does not reach any parameters.” This, you know, you draw with a green felt-tip pen, and someone comes and says: “No, this marker doesn’t look like red, let’s use red instead.” Yes, it is not directly shown exactly what should be in the end, and so far our Duo comes out quite smeared. And here’s how to explain to people that I had a Director’s task – to be absolutely different from Sergey Smolin. We didn’t have time to search, it’s easier to follow the installation instructions as an Assembly guide. Either you trust the Director, or you don’t. If he said you were going in that direction, then you were going in that direction. I went in the direction indicated by the Director. Now you can go to the painstaking work… Or maybe not, who knows.
– It turns out, two Dalamar is two completely different character?
– Yes, they are like two halves of one whole. My character should be more serpentine and cat-like, with a voice more feline. In theory, everything should be different-both the voice and the plastic. One way or another, some of the audience understands the idea, some do not. Used to it.
– Who had the idea to introduce the second Dalamar?
– I don’t know. Not me.
–Are you close to the “Daragonlance” series of books»?
-No, I didn’t read any books before I came across the project. In General, I paid attention to the project itself only when Andrey Birin, Rostislav Kolpakov and others began to be introduced to it. Because initially it seemed like unprofessional theater to me, there was too much going on. I came across some excerpts, probably from the tour or the very first version, where the ensemble danced in black leggings and ballet tights. I thought maybe he graduated from the University and now continues to play. So personally, I wasn’t particularly interested in it; people are watching, people like it – and it’s good. I was curious when the guys came there, and I found out that there was crowdfunding, which raised a completely wild amount of money. I looked at the photos and somehow already felt respect that at least people are burning with the idea and managed to transform their project to a professional level. I realized that at the moment this is already some kind of production story. And that’s when I read a summary of what’s going on, read all the huge articles on Wikipedia and wherever possible. And my best friend-a childhood friend-being an avid fan of this universe, gave me a two-day run through the lore of the world. That is, when preparing for the performance, I was not familiar with books, but I delved into the hotel elements of the story: I read about the characters, their characters, about the events taking place, and so on. Something like that.
– If you were Raistlin, what choice would you make?
– Of course, I would choose power over the world. Unexpected, huh?
– No, even the most anticipated. Another new project for you is “Monte Cristo” in the Moscow operetta. Would you like to play in a similar production at the musical Comedy Theater in Saint Petersburg?
– Yes, I would very much like to play in the music Committee in the “Count of Monte Cristo”. Because there is music by Frank Wildhorn, and Gordeev and I were saying on the summer porch: “Wildhorn, drop us the notes!”. A great composer, I love him very much. His handwriting is always guessed, all his musicals are similar in music. The same “death note” is, as it were, the quintessence of all his melodies. So at least because of the music, I would really like to play there.
-Who is it?
-If you do not bother with your role, then Albert. Why go against the engine?
– What would you have done in Albert’s place: would you have stood up for your father’s honor, or would you have stayed with Valentina?
– I think the musical shows albert’s reaction to what is happening quite clearly. Of course, the honor of the family is important, and if you refuse to protect it, you become a traitor, but you know, there is an expression about spouses from the position of a woman: “If the whole world turns against my husband and goes to war with him, I will stand by him and give him ammunition,” and in this case, I would not say so about the father and son. I would probably do what albert did. I mean, you were doing well, and then suddenly, your life was falling apart. In addition, at that time, everyone was very sensitive to gossip and to their personal honor, including. And then it turns out that because of your father, the shadow of society’s pointing finger falls on you. I would not have defended my father’s honor, but would have stayed with Valentina, like this.
– In your opinion, did albert love Valentina or was it just a childish attachment because they were forced to be together?
– Definitely not just an attachment. This is the case when children are born and they are immediately told: “You will be husband and wife.” They grow up with this idea and understand what each other has. Now in the production, the Director gives us some tasks, including digging into all this backstory. Albert and Valentine’s day is people who have everything in life is good. They have love, money, respect, and in General, their life is painted. A kind of Golden youth, but not spoiled. They are very ambitious and, as children, being just friends, already at a certain transitional age really fell in love with each other. So I think there is a deep chemistry between them.
–How do you feel about the philosophy of Rodion Raskolnikov and Yagami Light?
– At least because I play them, I have to justify all their actions for myself. And at the same time there is a certain touch of the strings of your soul – you are imbued with their ideas. These characters are just inextricably linked to me. Maybe I was cast because I have it in me. I justify them, seriously. Part of it is something similar to the syndrome of an excellent student who was bullied at school, like me, for example. Same. Then at some point it translates into a sense of justice. It is very acute in adolescence, and now it is easier for you to address it, remembering how you felt twelve years ago. It’s just that good and evil are extremely relative concepts in the modern world, so I just understand and accept the actions of my characters.
– Where do you get your inspiration and strength to work from?
– It’s a way of life, you don’t think about it. For if you lower your hands, you need to change your profession. Just as someone gets up in the morning and goes to the factory and sharpens the parts, so you get up and realize that you need to be inspired. I believe in human energy, and the emotional component is very important to me. I try to be here and now, not only on stage, but also in life, so that the same inner emotion does not fade away. Because sometimes it happens that you are talking, going somewhere – but inside everything is too calm. There is a kind of peace that lives in you, and it is not always good. I try, roughly speaking, to excite myself in some way every second of the hour. In other words, the first half of the time I regenerate energy, and the second half I use it. And this energy does not have to be gushing, I just like to enjoy what is happening. It is very important for me to be in a good mood, because, of course, it can sometimes become bad – everything in life happens – and this instantly drains me of energy. When a certain negative happens in life, I try to dismiss it from myself. Because focusing on it quickly robs me of that inner charge. I also try to look for some moments to keep it (the charge). And performances-this is the case when you go on stage, and not only must you use all three circles of attention — to hear and see even with your back – you still need to throw emotions over the ramp. Because you can feel anything, you can have a volcano inside you, and the audience in the front row won’t even notice. At the Institute, this often happened: the master requires you to emotionally come to a certain point, you are sure that you have completed the task, when others do not see it. There is a certain line that needs to be found between emotionality and the fact that these emotions are transmitted to the viewer. As my vocal teacher used to say: “If a person sings or plays on the stage, he is a kind of conductor between the audience and what is given from above or laid down by the author. It is like a prism through which this ray of thought is refracted and falls on the viewer, is carried to his head. Otherwise, he may deflect in the wrong place, the gap, or simply don’t walk”. This is why I draw my inspiration from the reality that surrounds us.
– What foreign musical would you like to play in?
– In “Mozart”, in the German and French versions (“Mozart!” and “Mozart, l’opéra rock”). In French I would prefer to play both Mozart and Salieri at the same time – today one, tomorrow the other, and in German – Mozart. In “Elizabeth” (“Elisabeth») Rudolf’s. Der Toda there is no point in playing, it will again be against nature. Although, he is close to me… But, as Gordeev said, there must be some “textural qualities”. However, the same Kim Jung-soo calmly played Der TOD in Korea, and everything was good and beautiful. Why not, this version is also available. I would also very much like to play abroad Alfred (“Tanz der Vampire”). In German, for example, this is still possible. I really want to play ” Jesus Christ superstar “(“Jesus Christ Superstar») Judas, I basically think that playing in this rock Opera is incredibly cool. In “Shrek The Musical” I would like to play Donkey and Pinocchio. More Alexander Hamilton (“Hamilton») it would be great to play, Yes. And purely his and no one else’s.
–Have you ever played the role of Phineas Barnum/The greatest Showman in the show, “Broadway Dreams”. How do you like the image?
-I actually went to that casting because I wanted to play Evan Hansen (the American musical “Dear Evan Hansen”). I went there with a song from that musical. As a result, I was told that the foreign team liked me and they would very much like to see me in the show. And as a result, I was informed that I would be singing “The Greatest showman”. Unfortunately, at that time I did not watch the film itself, only some fragments. But on the other hand, I realize that even if I had watched it before “Broadway Dreams”, nothing would have changed. I would still have done everything exactly the same as I did, because we had a specific Director’s concept. There was just a clear ensemble, plus me, plus the teachers – all the Broadway artists-who sang with us. It was a very cool experience in fact, the work satisfied me, the recording from the third show is nice to review. We had about a week to prepare, and in parallel there were performances. I remember learning this track when I was driving from St. Petersburg to Moscow, for some reason. It was all kind of cool and weird. First of all, because I really wanted to sing Evan, and they gave him to the children. Especially in the Broadway version, the actor who plays him is just around twenty-eight years old. He looks like, roughly speaking, a high school student, maybe a College student, so he is far from a boy. Such story.
-Are you close to Evan’s character?
– These images are always interesting to dig into. It’s interesting to look for something. After all, the story in the musical is shocking. Of course, I would very much like to play, and the music material is still very cool. By the way, I have an idea for future concerts to do some duets from there, because there are interesting tracks besides “Waving Through a Window”, but without it, of course, nowhere. Who else would you like to play? We had a production Of “Catch Me If you Can” in Russia, and that’s where I would like to play the main character, Frank Abagnale, Jr., in a big good version. But it is no longer going on in our country due to some internal disagreements.
– Finally, tell us some funny or awkward incident that happened to you during the performance, which was not visible to the audience.
– In fact, the funniest things always happened at the Vampire Ball. Because when you play a new performance, someone sometimes gets tired, someone starts joking on the first of April… I remember a funny incident in the second act when I was running around with a tray: so, I take it away from the Professor, and for some reason a white plastic fork falls on the floor, no one in the hall noticed it, but we did not understand where it came from. Once, in the crypt scene, one of the riggers left a lighter on one of the coffins below, and I wondered which of them was Smoking, the count or the son. On the first of April, again, there was a story with that tray – the guys played a joke. When I handed the tray to Abronsinus, the mugs were not there as usual, but further away, in their place was a magazine. So the Professor turns the tray over, and there on the cover is: “Erotic massage”. Still in the same day in the crypt on Herbert lay some wig, too, funny was. And once at a performance in the stage before the ball, when there were choreographic sketches, one of the vampires for some reason unbuttoned the suit – there was some kind of complex double bodice – and here we are, kneeling, I turn, and right in front of my nose naked back. It was very ridiculous. Even on the closing day of the matinee in the scene where we were supposed to beat Magda, the Professor – played by Rostik Kolpakov-asks the question:”Where is the heart?”. And I periodically improvised in the spirit of: “Between the sixth and seventh… A vertebra?” And that’s when my words got mixed up for some reason, and I answered correctly: “Between the sixth and seventh… Edge.” I don’t know if it’s still on the record, but it was very funny. I think everyone knows about the flying hammer (at one of the performances, in the scene after the Aria “how funny it is to be dead”, when Alfred swings at Chagall with a hammer, its shock part – being probably poorly fixed-flies into the hall; in the hands of the hero, only the shaft remains). It was funny when I poked Chagall with my wand after that. I mean, instead of swinging the hammer, I’m poking him in the throat with the pointed end of the shaft. I don’t know how we ran after Chagall afterwards, I think we didn’t run so much as roll around the stage laughing. It was funny and scary that the heavy wooden tip flew into the hall. Thank God, I didn’t hit anyone, and then there would have been a lot of problems both for me and for the theater.
– What can you wish our readers?
– Wish? Usually often ask: “What advice can you give to those who enter a theater school?” The answer is simple: do not go to a theater school, because it is empty, because it is only a matter of chance. To get to the vampire Ball, for example, and play happily for a whole year is really one case in a thousand. Most people learn to do it somewhere and then go to conduct weddings, corporate events, work as an animator, and so on. Why do you need all this? There’s no need to ruin your life. In General, I would like to wish, perhaps, everyone not to waste time on trifles and think more broadly. Do not dig into unpleasant things, because they are very much draining energy. You need to look for some positive moments in life and the more, the better.
Interview conducted by: Carnot Anastasia
Author of the text: Tais Zakarzhevskaya
Editor: Anna Tarasova
Photographer: Tais Zakarzhevskaya
Interview taken for the author’s magazine “IZKULIS.RU”