Over the past 10-12 years of the development of the musical in Russia, this phenomenon has now become accepted as a part of commercial pop culture. At the same time, it should not be forgotten that this is also a serious theatrical genre, just like drama, opera, ballet or operetta. Of course, a musical is also thought of as something that must attract large audiences, and thus must be above all else spectacular in nature. But it also must incorporate choreography, vocals and a strong dramatic plotline. The presence of an abundance of such elements appears to raise the chances that a musical will be appealing to a large swath of people.
“We should speak not only about the investment aspect, about the commercial appeal of a musical but also about the fact that today a demand for this genre has arisen, and it is developing,” says Alexander Popov, director of the Musical Theater.
This past season five professionally produced musicals were staged in Moscow, including such renowned shows as Monte Cristo, Zorro and The Producers. Nonetheless, there is a critical deficit of professionals in this sphere in Russia; there are not enough directors, conductors and choreographers. At present this issue is being handled via the attraction of specialists from abroad. And this is not necessarily a negative thing, as the creation of mixed creative groups brings a special flavor to the show. And the producers do not really have a choice, as Russia does not really have its own school yet.
The musical has just begun its path on the Russian stage. And this has led to a rather unusual situation for such a commercialized genre: everyone involved in this business, despite the competition, in interested in each other’s success. “There are so few of us, that an unsuccessful project can form an incorrect perception among spectators about what a musical is,” explains Alexei Bolonin, producer of Monte Cristo.
Not long ago a roundtable was held in Moscow on the future of the musical in Russia. Al the participants agreed that they are optimistic about the future of the musical and are making big plans.
Dmitry Bogachev, director of Stage Entertainment (the Russian producer of Mamma Mia!, Beauty and the Beast, Zorro and The Sound of Music), for example, is planning to mark the 400th anniversary of the Romanov dynasty with a staging of Anastasia, a musical about the fourth daughter of Nikolai II.
It is not yet known who will make up the musical’s direction team, the producer hopes it will have an ‘international fate.’ But the director apparently will be a Russian. “Otherwise we will get something like an American version of Anna Karenina or Doctor Zhivago,” says Bogachev.
Stage entertainment has plans to stage the legendary Phantom of the Opera in Moscow. There are however a number of difficulties facing the project, as limitations have been placed on the rights to the original. So the exact dates of the premieres in Russia remain difficult to pin done. But one thing is clear – it will be a restaging of the musical in its original form, rather than an adaptation, as was the case with The Sound of Music. “It is practically impossible to improve upon that version, and it is better not to try,” the head of the company said.
The producers of Monte Cristo, Vladimir Tartakovsky and Alexei Bolonin, also intend to focus on Russian history, although they declined to specify what exactly the show would be about. “I can tell you the title, as we are still mulling that over. But the same production crew that staged Monte Cristo will work on this musical as well,” Tartakovsky said.
David Smelyansky, general director of the Moscow theater Et Cetera, also intends to work on a musical. But the fans of the tragically renowned Nord Ost are out of luck. All the participants of the roundtable seemed to agree that it would not return to the stage. “This has become a legend already, and it should remain a legend,” said Smelyansky.
Elena Khruleva
