Is the actor Alexander Marakulin married? Alexander Marakulin. History of success. Nagiyev's love story

Born March 24, 1973 in Samara.
Education: Directing Department of the Samara Institute of Arts and Culture (2 courses); from 1992 to 1997 RATI (on the course of People's Artist of Russia, teacher and director Igor Yasulovich and artistic director and chief director of the Moscow Academic Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko, professor of RATI, People's Artist of the Russian Federation Alexander Titel), faculty musical theater with a degree in musical theater actor.
Since 1996, the Musical Theater. Stanislavsky and Nemirovich-Danchenko (student production of The Marriage of Figaro), since 1997 Grigory Gurvich's cabaret theater The Bat (troupe), since 2002 the musical Notre Dame de Paris (Operetta Theater).

theatrical work

Stephen Nathan (Jesus) in the musical "Godspell" (RATI educational theater), Count Almaviva in Mozart's opera "The Marriage of Figaro" (Musical Theater named after Stanislavsky and Nemirovich-Danchenko), supporting roles, then Kürman in "You are allowed to replay", musketeer, Phantom and others in "The Great Illusion", Elvis, voice artist and others in "100 Years of Cabaret", Judas, driver from "The Man from La Mancha" and others in "This is show business!", artist Valera, director- emigrant Alik Mylnikov, Chekhov's double and others in "I step across Moscow", the narrator and a number of characters in "Magic Journey", Snob Bob and director Zack in "Chance" (Grigory Gurvich's cabaret theater "The Bat"), Archdeacon Claude Frollo in the Russian version of the musical Notre Dame de Paris (Metro Ent., Operetta Theatre).
Count Capulet in the Russian version of the musical Romeo and Juliet.
Villefort in the musical Monte Cristo.
"Romeo and Juliet" musical at the Operetta Theatre. Juliet's father
2014 - "Count Orlov" - Operetta Theater - Prince Radziwill

Success is a relative concept. And it would be wrong to measure it only in terms of fees. In addition to passing, material criteria, there is also audience recognition, which is precisely the primary source of everything else.

Alexandra Marakulina it is difficult to call it successful in the commercial sense - there is no increased attention of the yellow press, no stellar fees, no glamorous hype in his life. He is not the face of a Swiss watch company, he does not act as a gossip columnist, he does not gather full houses at solo concerts. Although, the latter is more likely due to the lack of solo concerts as such. It would seem - one of many, but everything is not so simple.

When his story began is unknown. But is it really that important to know? We will start our countdown right away from Moscow - a city that gives everyone a chance. A negligible chance.

- The desire to be an artist appeared once in deep childhood. But it was not possible to clearly define the genre or role. I just knew that I couldn't and didn't want to live without a stage, without a theatre. This is probably why I didn’t go to Moscow right away: I decided to first try myself in my native Samara. He entered the directing department because he wanted to get the most complete picture of the profession - it is easier for an artist to play if he can look at himself through the eyes of a director, see the mise-en-scene as a whole and independently determine his place in it. By the way, my first Moscow assault failed - I never entered any theater school, although, it seems, I ran around them all. But my girlfriend was lucky - we came to do it together. It was then that she announced the additional recruitment for the course at GITIS. The second attempt was successful.

Any young artist who came to conquer the capital from the same Samara can tell a lot of everyday horrors, recall a huge number of troubles and difficulties that had to be overcome with work, sweat, and sometimes with humiliated pride. Alexander can add to these stories the names of good teachers and the joy of first successes: a diploma from the Vysotsky Memorial Festival "Era of Mercy", an award from the Moscow Debuts festival in the nomination for the best debut in musical theater, etc.

The first troupe, the first creative family - cabaret theater "The Bat". An original, original and successful project by Grigory Gurvich. An excellent leader and understanding director, the Master valued each of his pupils, knew how to assess the potential and help the talent to reveal itself. Gradually, without jerks and breakthroughs, he introduced Alexander Marakulin to significant roles in virtually all performances. Rather, guessing than seeing in a short, outwardly inconspicuous boy, the future star of the troupe. "The Bat" was in many ways the first Moscow, and even Russian team, to take a step from a musical theater to a Broadway musical show. In the performance-medley "The Great Illusion" Alexander performed the famous aria of the Phantom of the opera "Music of the Night", falling in love forever, both with the character of the legendary musical Andrew Lloyd Webber and with the genre of the musical.

- I can’t say that I originally wanted to get into the troupe of the Bat. After graduating from the institute, there were already some prospects in the opera house, but they were too unclear, and there was a catastrophic lack of money. When my friend and colleague Pyotr Markin and I came to Grisha Gurvich to "show off", we didn't have much hope. We sang something, danced something from our student repertoire and were even surprised when Grisha asked when we could start work. More precisely, he didn’t even say that - his first question after watching was: “Guys, do you really want to work, or did you come to play the fool?” Although we came here to play the fool, we wanted to work. At that time I had one role that I still consider to be the most convincing and authentically played: the voice behind the stage. In the course of the action, the indistinct cries of a drunken peasant were heard from behind the scenes. Once. Actually, that was me. I remember even going out to bow a couple of times after that (laughs).

In Russia, there is still no school for musical actors - performers who are equally fluent in voice and in the art of dramatic acting. Alexander is one of the few who fully compensated for the lack of a technical base with natural talents and thoughtful work on the role. Unfortunately, the death of Grigory Gurvich crossed out the hopes and plans of the “Letuchkinites”. The troupe broke up, the theater ceased to exist.

Alexander came to the casting for the musical "Notre Dame de Paris" on a general basis. He endured all the exhausting tours, but, as not previously involved in the projects of the Metro-Entertainment company, was considered as a "second line-up". And then everything was as it should be in the musical: exhausting rehearsals, the unsteady and uncomfortable position of the "understudy", work for wear and tear and a completely unexpected decision to transfer to the first cast literally on the eve of the premiere.

- I don't want to call the role of Frollo my best role, simply because it already "was". Yes, I worked a lot on this image, thought about something, thought about it. Of course, this is a very important stage in my life - I liked everything: the music, the production, and the character. In general, the material is of paramount importance to me. I can't unequivocally say what is more important the plot or the music - there must be a general harmony. That is why I cannot say that I am definitely a singing artist or, on the contrary, only a singer. There are pop songs that are worth a whole performance in themselves, and there are dramatic roles that do not need a musical addition. In any case, I am pleased that my work, my vision of the character found a response and understanding from the audience.

An incredible hit in the image, a memorable voice timbre with a rare "dramatic baritone" coloring, audience applause and nomination for the Golden Mask Award for Best Actor. Then the first television broadcasts appeared, attempts to develop a solo career, selection of repertoire. According to the logic of things and according to the laws of the genre, an interesting proposal from an interested producer should have followed.

- I would be interested in a solo career. I have a quite positive attitude towards pop art, although the current trends in our show business are simply terrifying. Nevertheless, there are performers who manage to do worthy things even in this turbidity. For example, Valery Meladze - I like the style in which he works, and his demeanor also impresses. I have several demos of what I personally find interesting. Unfortunately, my proposals do not always suit the producers, and I am not always satisfied with what they offer me. But I'm not going to leave the profession - I just can't do something else. Even if I suddenly became a millionaire, I would still sooner or later return to the stage. I now have an interesting role in the musical Romeo and Juliet. Not very big, but the more interesting it is to work with - there is simply no way to "merge" the replica in the hope of leveling off later.

Worldwide, the premiere cast of any successful foreign musical is automatically distributed among the production companies. This is nothing more than logical for "the whole world", but it is absolutely not necessary for Russia. Alexander came to the musical "Romeo and Juliet" under the same modest logo as his colleagues - "the star of Notre Dame de Paris." No name, no solo career, and really no role. The production company Metro-Entertainment once again surprised Moscow by staging a musical in which there was no place for the already played, sung, star troupe Notre Dame de Paris. Again there was a casting, again I had to prove the right to sing a single aria, again the airs were under the banner of "stars of the musical Romeo and Juliet." And again applause, flowers, hopes for something more. Another bright, reliable character appeared, a well-thought-out image, another memorable role. And new spectators who, leaving the theater, exchange impressions and try on a new, unusual surname - Marakulin. Alexander Marakulin.

Photos from the official website of Alexander Marakulin www.marakulin.musicals.ru

Roles in the theater
Roles:
* Count ... Read all

He graduated from the 2nd course of the director's department of the Samara Institute of Arts and Culture. From 1992 to 1997 he studied at the Russian Academy of Theater Arts (GITIS), Faculty of Musical Theater, majoring in Musical Theater Actor. Works at the Bat Theater.
Roles in the theater
Roles:
* Stephen Nathan (Jesus) in the musical "Godspell" (RATI educational theater),
* Count Almaviva in Mozart's The Marriage of Figaro (Musical Theater named after Stanislavsky and Nemirovich-Danchenko),
* Supporting roles, then Kürman in You're Allowed to Overact, Musketeer, Phantom and others in The Grand Illusion, Elvis
* voice artist and others in "100 years of cabaret",
* Judas, the drover from "The Man from La Mancha" and others in "It's Show Business!",
* artist Valera, director-emigrant Alik Mylnikov, Chekhov's double and others in "I step around Moscow",
* the narrator and a number of characters in the "Magic Journey",
* Bob-snob and director Zach in "Chance" (cabaret theater by Grigory Gurvich "The Bat"),
* Archdeacon Claude Frollo in the Russian version of the musical Notre Dame de Paris (Metro Ent., Operetta Theatre),
* Count Capulet in the Russian version of the musical "Romeo and Juliet"
* royal prosecutor Noirtier (according to the book - Gerard) de Villefort in the musical "Monte Cristo" (Operetta Theater; music. Roman Ignatiev, libretto by Julius Kim)
Recognition and awards
Awards:
* Diploma of the festival in memory of Vysotsky "Era of Mercy" for ensemble work to all performers of the musical "Godspell",
* Prize of the Moscow Debuts festival based on the results of the 1996-97 season. for the best debut in musical theater (the role of Count Almaviva in Le nozze di Figaro),
* nomination for the Golden Mask of the 2001-2002 season. for Best Actor in a Musical Theater (Frollo in the musical Notre Dame de Paris).

Until return musical "Monte Cristo" there is very little time left. Already October 5 legendary performance will celebrate its 10th anniversary on the stage of the Moscow Operetta Theatre. There is a rush at the box office: the audience is in a hurry to buy tickets to see their favorite musical again.

In the anniversary season of Monte Cristo, the audience will meet with their favorite and popular artists, whose names are well known to fans of the musical from the day of the premiere: Valeria Lanskaya, Likoi Rulla, Alexander Marakulin, Andrei Belyavsky, Vladislav Kiryukhin and others. In the title role of Edmond Dantes, - as before, everyone's favorite artist Igor Balalaev. A pleasant surprise for fans will be that in another line-up this role will be played by the star of the genre Dmitry Ermak.

“I am happy to play the lead role in such a popular musical as Monte Cristo!- recognized Dmitry Ermak. –It is especially pleasant that this happened in the anniversary year - a landmark for the project! The return of the legendary Monte Cristo will be a unique experience and a new challenge for me - I have already played Fernand, and now I will also play the role of Edmond Dantes. Playing two opposite characters in one performance is difficult, but interesting. And I am very grateful to the producers and the production team for their trust! For me, this is a big surprise and a wonderful gift for the new theatrical season.”

Anna Guchenkova will play a new role for herself in the musical - Ermina. First time at Monte Cristo Alexander Kazmin, known for his participation in the musicals Crime and Punishment, Ball of the Vampires, etc. Alexander will play the role of young Albert. His beloved Valentina will play Daria Yanvarina, loved by the audience in the musical "Anna Karenina".

Since its premiere in 2008, Monte Cristo has won the hearts of millions of viewers and received a number of prestigious theater awards, including on the Asian continent. In 2012, the musical was shown in China at the Shanghai Spring Festival and was an incredible success. In 2014, the performance won the Grand Prix at the largest international festival of musicals in the South Korean city of Daegu: "Monte Cristo" was recognized as the best musical, beating more than a dozen applicants from Europe and Asia.

The musical can be seen every month at the Moscow Operetta Theatre, on the stage of which the popular musical Anna Karenina will continue to be shown.

SOLOISTS OF THE MUSICAL "MONTE CRISTO"

Edmond Dantes: Igor Balalaev / Dmitry Ermak

Mercedes: Olga Belyaeva / Valeria Lanskaya

Fernand: Dmitry Ermak / Maxim Novikov

Villefort: Andrei Belyavsky / Alexander Marakulin

Bertuccio: Alexander Golubev / Anton Derov

Benedetto: Vadim Michman

Albert: Denis Demkiv / Alexander Kazmin

Valentine: Anastasia Gonchar / Daria Yanvarina

Ermina: Anna Guchenkova / Lika Rulla

Beauchamp: Alexander Babenko / Vladislav Kiryukhin

Abbot Faria: Alexander Markelov / Vyacheslav Shlyakhtov

Guide: Karine Asiryan / Diana Savelyeva

BALLET OF THE MUSICAL "MONTE CRISTO"

Dmitry Akimov, Roman Andreikin, Ulyana Bachernikova, Evgeny Bezgin, Lyubov Vakhtina, Alexandra Vvedenskaya, Maria Vishnyakova, Natalya Gololobova, Edgar Golosnoy, Ekaterina Goncharova, Alexei Degtyarev, Daniil Isupov-Dolinsky, Yulia Kuli-Zade, Irina Morozova, Denis Moshonkin, Vladislav Nunez Romero, Tatyana Ostrovskaya, Ilya Tokarev, Stanislav Chunikhin, Vera Shvorak

PARCOUR MUSICAL "MONTE CRISTO"

Maxim Abramov, Dmitry Barannikov, Ruslan Javadov, Alexander Gavrilov, Ilya Pozdnyakov