Within half a century, Nickolay (правильно - Nikolai) Sergeevich Marton has played over 90 roles.
The 2000’s were a real stage renaissance for him.
Nowadays only a few pieces are staged without Nikolai Marton who also cooperates with Saint-Petersburg State Capella – he participates In unique music-and-drama pieces. However, Nikolai Marton has not yet played many roles any artist dreams about playing. That is why Nikolai Sergeevich and Director Polina Nevedomskaya have decided to stage this performance in which they brought together six monologues of well-known characters: from Khlestakov to Svetlovidov, from Moliere’s Harpagon to the Baron from A.S. Pushkin’s Covetous Knight, from Salieri to Arbenin.
This performance full of irony and quick-wittedness begins like an acting exam – there are sheets of paper with the names of roles on chairs. The veteran of the stage picks them one-by-one, like a school graduate at an entrance exam. This solution contains both self-irony and the truth. Being an actor means that, regardless of all merits and awards, each night, coming to the stage, the actor is passing an exam, playing different and sometimes unexpected roles with him- or herself and the audience as the examiners.
The performance coincides with the 50th anniversary of the artist’s being a member of the Alexandrinsky Theatre’s company.
The first night took place on the 9th September 2012
Media about the
“He creates characters easily, in a couple of strokes. The trembling hands and jaw of Agafya Tikhonovna, the ballsy gestures of Fyodor Karamazov, the clumsiness of Svetlovidov, the chilliness of the Baron, the squatting and brow-lifting of Shylock, the hands of Harpagon crossed on his chest, the mobility of Khlestakov, the eagle eye of Borig Godunov, and the sedate, almost metronomic pacing of Salieri. Finally, there are three intonations and three characters for the end dialogue: the harsh basso of Arbenin, the tenor of the Unknown, and the baritone of the Prince. The actor’s voice with a wide vocal range from basso to falsetto resonates even in the sheets of leaf gold on the curves of the doors leading to the Tsar’s lodge”
Sophia Kozich. Nikolay Marton as Agafya Tikhonovna
Peterburgskii Teatralnyi Zhurnal, November 2012
“This performance consists of the monologues of characters the actor has met in his stage career (including the monologues of Chekhov’s World’s Soul and Agafya Tikhonovna). Standing at an arm’s length from the audience, the actor makes use of the space of the Alexandrinsky Theatre’s famous Tsar’s Lobby”.
Nikolai Marton, “The old school and avant-garde have met”.
Vechernii Peterburg, January 2013
“The world’s common soul is me… me… In me, the consciousness of people has fused with animal instincts. I remember everything and live through every life again and again”. This epigraph of the performance directed by Polina Nevedomskaya bends the flow of the plot into a totally different direction. Each of Maron’s characters is a soul which seeks incarnation in him, the creator.
Elena Gorfunkel. The world’s soul is me, an actor
Nevskii Teatra, November 2014