Oleg Menshikov's directing and acting works in Theatrical Company 814 were not attacked only by those who weren't lucky to see them. However, sometimes the attacks happened without having seen the plays. Oleg Evgeniyevich's self-sufficiency, his ability to remain No.1 actor in Russian cinema though he rarely appears on stage and screen, makes our theatre supervisors too irritated. Check any viewers' rating and you will be convinced. Numerous reviews on "Woe From Wit" and "Kitchen" bristled up with spiteful and often absolutely unreasoned attacks. Of course, these productions can hardly be considered explicit masterpieces, but they never injured Menshikov and his crew's professional prestige. And if viewed in general Russian entreprise context, they rather stand out for their thoroughness and at the same time for their frankness and vivacity.
"The Gamblers" were not lucky with critics at all. Or critics were not lucky with "The Gamblers". Probably, no less irritated Menshikov eliminated writing class flatly keeping it away from the performance. No press-nights and free-passes. If you wish to see it – buy a ticket. Only the tickets are expensive (more than 1000 roubles) and not always available. So you have to enable personal contacts thoroughly concealing your journalistic occupation if Menshikov's activity is of some interest for you, or proudly ignore the newly-made production.
Advertisement and promotion of "The Gamblers" was also very unpretentious. They don't fight for public by all available means, presuming her own activity and information distribution.
Oleg Menshikov, this first Russian "self-made man" of acting and a really unique actor (if judge at least by his past triumphs), has made himself a name about 10 years before. And since, as usual, it's been working for him letting him easily get rid of all responsibilities and conventionalities binding a native actor. Menshikov can easily afford himself long-termed travels abroad, creative standstills, the strictest selection of activities, non-public life. But another fact seems more important – Menshikov can combine profession and pleasure, first of all his own. At that, not losing his face, not being careless at work. But at the same time not overburdening "light breath" of the acting with asthmatic attacks of scenic nonsense. All in all, if some of VIPs prefer to relax or pester their nerves in the casino or at the races, Menshikov plays theatre.
It is important for him as director and permanent participant of his own performances (and in the latest – especially) to inspire everybody with such spirits – both the actors and the public. The title "The Gamblers" sounds almost symbolical in this context: it is not so the matter of green cloth excited fans, as the comedians' attitude. The game becomes global, and seems it is circus tent that covers the stage but not the "roof". Coins roll under spectators' feet, "banknotes" of different colors fall from somewhere above. Free-pass is performed as a banknote of $10,000 value (it doesn't matter that in Gogol's times another currency was in use – they play in our days). Gaping viewers are pulled to table by the inn servant Alexey, and tastefully have a shot and another of vodka with a pickle, lard and the toast "For theatrelovers!" Alexey in an emphatic manner switches off his cellular phone and advises everybody to do the same, threatening otherwise leave his character and "pull the delinquent's ears". And don't you dare to steal one of the scattered cards as a souvenir – the "punishment" will be the same.
The gamblers are picturesque and are worth one another. He who got into this "gaming zone" would hardly get out of it and wouldn't want to. The cheated Ikharev (A. Usov), subtle intellectual wearing eye-glasses in the end thrown out of the common phantasmagoria, can't already distinguish the shape of the real inn, but is tortured by hallucinations with devilry. False Glov, junior (N. Tatarenkov) as a demon appears here and there ripping the walls. Other gamblers work in well coordinated movements of stray comedians' troupe, led by restless joker and "leading actor" Uteshitelny (O. Menshikov). They take each other's hints at once, but at the same time amusingly exchange caustic remarks as clowns in circus, sometimes with mutual blows. Rough and active Shvokhnev (A. Gorbunov) passionately reciting rushes about the stage and flushes hens and other poultry. Awkward "commander without war" Krugel (A. Sirin) comically suffers from "giraffe syndrome" falling out of the common rhythm. Glov, senior (V. Sukhorukov, he is also a character named Zamukhryshkin, introduced with a conversed name in the playbill: Rotkiv Vokurohkus) performs concert tricks cozening the public with pure Ukrainian. They pull over their heads clown's top hats, dance something, sing romance and Ukrainian folk song, and poke cards into spectators' hands, and in a hussar way throw on the floor the non-existent glasses which "break" with real clinking. Or suddenly they will freeze openly mocking the pose of Art Theatre's "three sisters" and to the similar march sounds will "grieve" for something. And again will rush further trumping and singing.
It's a shame, frankly speaking, to reproach a child that he excitedly but in the "wrong" way plays with bricks. Because the game has its own laws and no strict borders. And the rules are degraded. At Menshikov's "Gamblers" the spectators feel comfortable and free. The actors, certainly, too.