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HAMLET
16+
Main Stage
1h. 30min.
Without intermission
VALERY FOKIN
Director, Author of the performance

ALEXANDER BOROVSKY
Scenic Design

ALEXANDER BAKSHI
Composer

OKSANA YARMOLNIK
Costume Designer

DAMIR ISMAGILOV
Lighting Designer
 
IVAN BLAGODYER
Musical Director, Assistant Director
 
IGOR KACHAEV
Plastic Art

OLEG ERYOMIN
Assistant Director
 
IGOR MAMAY
Assistant Musical Director
 
LYUDMILA FILIPPOVA, TATIANA SHEINA
Assistant Director

DMITRY BELOV / STEPAN BALAKSHIN
Claudius, the King of Denmark
 
IVAN EFREMOV
Hamlet, the Son to the former and the Nephew to the current King
 
MARINA IGNATOVA
(actress of the Bolshoi Drama Theatre named after Tovstonogov) Gertrude, the Queen of Denmark and Hamlet’s Mother
 
SERGEY MARDAR
Polonius, the King’s Chief Counsellor
 
IGOR VOLKOV
1 st Gravedigger
 
VALENTIN ZAKHAROV
2 nd Gravedigger 
 
NIKITA SIMONOV / GRIGORY KULIKOV/ EGOR SHCHERBAKOV
Fortinbras, the Prince of Norway

ANASTASIA PANTELEEVA / OLESYA SOKOLOVA
Ophelia, Polonius’ Daughter
 
IVAN ZHUKOV
Laertes, Polonius’ Son
 
TIKHON JIZNEVSKEI / VITALY SAZONOV
Rosencrantz, the Courtier
 
VICTOR SHURALYOV
Guildenstern, the Courtier
 
ANDREI MATYUKOV
Horatio, Hamlet’s Friend
 
SERGEY ELIKOV, VLADIMIR LISETSKY, VLADIMIR MALIKOV, ANNA STEPANOVA, SVETLANA SHEYCHENKO, MAXIM YAKOVLEV
Actors

TIMUR AKSHENTSEV, VASILISA ALEKSEEVA, DMITRY BUTEEV, ANNA VELICHKO, ELENA GLADKOVA, ANASTASIA GREBENCHUK, MARIA LOPATINA, VLADIMIR MALIKOV, VLADIMIR MINAKHIN, MARIA NEFYODOVA, ANNA POGGIDAEVA, YEFIM RODNEV, MARINA ROSLOVA, VITALY SAZONOV, ANNA SELEDETS, ANNA STEPANOVA, IVAN SUPRUN, ALISA GORSHKOVA, MAXIM YAKOVLEV
Noblemen, ladies, officers, soldiers, messengers

Denis Isakov, DMITRY ZOTIN, EVGENIA KADOCHNIKOVA, IGOR MAMAI, ALEXANDER MORIN, ANDREY OGORODNIKOV, ANTON POPOV, DMITRY SIZOV, ALEXANDER SHCHERBAKOV
Musicians

The tragic story of Prince Hamlet possesses a unique quality of being appropriate in various historic periods, thereby expressing the quintessence of people’s social and very private emotions. The play, created by Shakespeare more than four centuries ago, has gathered in theatres worldwide a range of interpretations and dramatic adaptations adjusting and placing it in the context of every given epoch. All the transformations, the variability of the text, different interpretative approaches to the translations of Shakespeare’s original narrative and alterations and elaborations of separate motifs of the classic plot serve to accentuate the eternal universal message of this work.

The new scenic version of Hamlet’s story, composed by director Valery Fokin, uses both poetic and prosaic translations of Shakespeare’s tragedy.

This particular dramatic adaptation, showcasing modern day accents of perception of the story’s conflicts, was created by dramatist Vadim Levanov. The whole play revolves around poignant inner emotions of a person doomed to live in a hypocritically mendacious atmosphere where criminal ambitious aggressiveness lurks behind a glossy façade of life. Hamlet’s tragedy is the tragedy of a person who attempts to put up a fight against lies and crime yet is swallowed up by vulgarity, pettiness and betrayal.

Premiered on April 16, 2010

Media about the

The story of a reigning Denmark dynasty that wiped itself out, flung right into the audience hall, carries a strong appeal for today’s audience. “A mousetrap,” as Fokin refers to it, is not so much a psychological trap set for Claudius (psychology and hidden subtle motives are not to be found in this play), rather the whole set of the play where both slaughterers and victims found themselves entrapped.


Alyona Karas. “Hamlet,” Friend to Paradox

Rossiyskaya Gazeta, April 2010

Fokin creates a play that looks like a journalistic coverage, conjoining the 21st-century Hamlet with his 20th-century ancestors. Hamlet, despised by the 20th century, has a chance to awake from heavy dreams and get back to the habitually nightmarish reality. Fokin’s Hamlet must grab at a bit of consciousness – just a bit, neither the Prince nor his contemporaries want more.


Elena Gorfunkel. COVERAGE FROM THE CROWD

The Drama Empire, May 2010

16+

HAMLET

Main Stage

1h. 30min.,
Without intermission

  • VALERY FOKIN

    Director, Author of the performance

  • ALEXANDER BOROVSKY

    Scenic Design

  • ALEXANDER BAKSHI

    Composer

  • OKSANA YARMOLNIK

    Costume Designer

  • DAMIR ISMAGILOV

    Lighting Designer

  • IVAN BLAGODYER

    Musical Director, Assistant Director

  • IGOR KACHAEV

    Plastic Art

  • OLEG ERYOMIN

    Assistant Director

  • IGOR MAMAY

    Assistant Musical Director

  • LYUDMILA FILIPPOVA, TATIANA SHEINA

    Assistant Director

  • DMITRY BELOV / STEPAN BALAKSHIN

    Claudius, the King of Denmark

  • IVAN EFREMOV

    Hamlet, the Son to the former and the Nephew to the current King

  • MARINA IGNATOVA

    (actress of the Bolshoi Drama Theatre named after Tovstonogov) Gertrude, the Queen of Denmark and Hamlet’s Mother

  • SERGEY MARDAR

    Polonius, the King’s Chief Counsellor

  • IGOR VOLKOV

    1st Gravedigger

  • VALENTIN ZAKHAROV

    2 nd Gravedigger 

  • NIKITA SIMONOV / GRIGORY KULIKOV/ EGOR SHCHERBAKOV

    Fortinbras, the Prince of Norway

  • ANASTASIA PANTELEEVA / OLESYA SOKOLOVA

    Ophelia, Polonius’ Daughter

  • IVAN ZHUKOV

    Laertes, Polonius’ Son

  • TIKHON JIZNEVSKEI / VITALY SAZONOV

    Rosencrantz, the Courtier

  • VICTOR SHURALYOV

    Guildenstern, the Courtier

  • ANDREI MATYUKOV

    Horatio, Hamlet’s Friend

  • SERGEY ELIKOV, VLADIMIR LISETSKY, VLADIMIR MALIKOV, ANNA STEPANOVA, SVETLANA SHEYCHENKO, MAXIM YAKOVLEV

    Actors

  • TIMUR AKSHENTSEV, VASILISA ALEKSEEVA, DMITRY BUTEEV, ANNA VELICHKO, ELENA GLADKOVA, ANASTASIA GREBENCHUK, MARIA LOPATINA, VLADIMIR MALIKOV, VLADIMIR MINAKHIN, MARIA NEFYODOVA, ANNA POGGIDAEVA, YEFIM RODNEV, MARINA ROSLOVA, VITALY SAZONOV, ANNA SELEDETS, ANNA STEPANOVA, IVAN SUPRUN, ALISA GORSHKOVA, MAXIM YAKOVLEV

    Noblemen, ladies, officers, soldiers, messengers

  • Denis Isakov, DMITRY ZOTIN, EVGENIA KADOCHNIKOVA, IGOR MAMAI, ALEXANDER MORIN, ANDREY OGORODNIKOV, ANTON POPOV, DMITRY SIZOV, ALEXANDER SHCHERBAKOV

    Musicians

The tragic story of Prince Hamlet possesses a unique quality of being appropriate in various historic periods, thereby expressing the quintessence of people’s social and very private emotions. The play, created by Shakespeare more than four centuries ago, has gathered in theatres worldwide a range of interpretations and dramatic adaptations adjusting and placing it in the context of every given epoch. All the transformations, the variability of the text, different interpretative approaches to the translations of Shakespeare’s original narrative and alterations and elaborations of separate motifs of the classic plot serve to accentuate the eternal universal message of this work.

The new scenic version of Hamlet’s story, composed by director Valery Fokin, uses both poetic and prosaic translations of Shakespeare’s tragedy.

This particular dramatic adaptation, showcasing modern day accents of perception of the story’s conflicts, was created by dramatist Vadim Levanov. The whole play revolves around poignant inner emotions of a person doomed to live in a hypocritically mendacious atmosphere where criminal ambitious aggressiveness lurks behind a glossy façade of life. Hamlet’s tragedy is the tragedy of a person who attempts to put up a fight against lies and crime yet is swallowed up by vulgarity, pettiness and betrayal.

Premiered on April 16, 2010

Media about the

The story of a reigning Denmark dynasty that wiped itself out, flung right into the audience hall, carries a strong appeal for today’s audience. “A mousetrap,” as Fokin refers to it, is not so much a psychological trap set for Claudius (psychology and hidden subtle motives are not to be found in this play), rather the whole set of the play where both slaughterers and victims found themselves entrapped.


Alyona Karas. “Hamlet,” Friend to Paradox

Rossiyskaya Gazeta, April 2010

“

Fokin creates a play that looks like a journalistic coverage, conjoining the 21st-century Hamlet with his 20th-century ancestors. Hamlet, despised by the 20th century, has a chance to awake from heavy dreams and get back to the habitually nightmarish reality. Fokin’s Hamlet must grab at a bit of consciousness – just a bit, neither the Prince nor his contemporaries want more.


Elena Gorfunkel. COVERAGE FROM THE CROWD

The Drama Empire, May 2010

“
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