It was hard to get to the first night of Menshikov's "Gamblers": the official premiere would take place in January, and there were few strangers. But still they sold tickets (the price was about 2,500 roubles), and after the last line was pronounced both the friends of the family and those who had paid for tickets applauded. They came not to Gogol, they came to Menshikov.
Oleg Menshikov invented himself brilliantly: he understood that a mystery was more attractive than promoted and soiled by the mass media actor's face, and concealed himself from the press. This free-will isolation made a myth of him. Sometimes he appeared on TV and his statements sounded unusual for a native actor: the only thing that matters is one's own private life, and the profession, with all respect to it, still is accessory. (Stage for us, as it is known, is a temple, theatre is home, and an artist doesn't work, but Serves).
Then there was a sensational Nikita Mikhalkov's film, eau de cologne "Yunkersky" ("Cadet's") was put on sale, Menshikov staged "Woe From Wit", released "Kitchen". And he was attacked by anyone who felt like it, for he was not a usual good and popular actor, but a legend. And the legend must correspond to itself – having gone out to the audience Menshikov should've presented to the spectators some revelation.
But he was producing quite usual and besides rather uneven performances. And producing them in a very actor's way, but with a precise entrepreneurial aim – in "Woe From Wit" there appeared a wonderful actress Ekaterina Vasiliyeva who had refused theatre lately and joined to church.
Gogol's "Gamblers" (in Menshikov's Theatrical Company 814 the play's title is "Gogol. The Gamblers") turned out to be not quite a usual production for him – at the small stage of the Mossovet Theatre there went on a steady, integral performance possessing clear concept and bright theatrical form.
Menshikov placed "The Gamblers" in Ukraine – small inn-rooms are surrounded with sheds, hen-houses and blossoming gardens, the characters sing Ukrainian folk song. A frog croaks, a bird sings, a dog, as expected, barks, and the sweetheart will be carried home – Ikharev will be cheated in an idyllic entourage under the tunes of State ensemble of folk music soloists dressed farmers. Menshikov has played quite enough tricks – bribe-taker Zamukhrishkin turned into a Ukrainian speaking fine national dialect. But the sense of "The Gamblers" remained the same – the performance is staged about the magic and troubles of the game replacing reality. Ikharev gambles because it is the essence and sense of his life – when he has been swindled by Uteshitelny's gang, he finds himself in the place of Bonaparte having lost his Toulon.
Menshikov invented lots of funny staging tricks, such as sharp walking sticks turning into hussar sabers, Krugel's parrot-like uniform, a hen-house out of which Shvokhnev pops out. In short, it is very correct performance – its problem is that the actors are rather constrained so far. But it has nothing to do with Menshikov himself – his Uteshitelny is insinuating, charming, modest, dashing, thoughtful and impetuous… Menshikov wanted to play a cute devil with a human face, and he succeeded. In "The Gamblers" the head of Theatrical Company 814 works excellently – with another life top he could've made not simply good, but great actor…
But it's another story.