Interviewed: Elena Balina, a passionate fan of art and travel, your guide to the United Arab Emirates
The theater begins ... It’s not that with a hanger, it just starts. Dubai could hardly be called a theater city, if only because even the theater itself appeared relatively recently. And we don’t even have to talk about full-fledged performances - a rare event that deserves close attention. Therefore, the second, for the current year, performance in Russian is no longer an accident, it is a regularity beginning to emerge!
The Independent Theater Project, which we learned about through the Stars Dome group of companies, brought to the stage of the Madinat theater a comedy of Marc Camoletti's Boeing, Boeing. A good advertising move was that the audience was informed in advance about the participation in the performance of the heroes of the television series "Sasha + Masha" Elena Biryukova and George Dronov, but the rest of the members of the star troupe pleased their creativity no less. It is not surprising that all two days of touring performances by the NTP, the hall was filled to capacity. The difficult times of crisis, the tense course of survival and the constant balancing on the verge of collapse have so tired the residents that such an outlet was simply necessary for them. And the artists guessed with the repertoire - it was the "awesome" comedy that happened just in time!
From the very first remarks of the artists, explosions of laughter shook the theater hall, the audience applauded the appearance of each new character. The text of "Boeing" in a matter of days spread into quotes. 
Just two evenings, the actors delighted us with excellent teamwork, deliberately funny accents and unique individual voice intonations. Due to the busy schedule of the actors and the catastrophically limited time, the journalists managed to arrange a blitz interview right on the steps of the stage with some of the entreprise participants.
Let me welcome you to the Emirate’s land and congratulate you on your magnificent performance on the Dubai stage! For two days you "held" the hall, was it easy?
Georgy Dronov: Ask how we manage to “keep” the hall during the sixth theater season!
I ask ...
Marina Dyuzheva: Immersed in the situation every time, there is a beginning of history, development.
George Dronov: Have n
as its secrets, the know-how of this performance.
The performance "Boeing, Boeing" was shown for the 170th time today, what keeps you in it?
Elena Morozova: Director Sergei Aldonin brought me to this performance, who can constantly surprise me with the fact that he is a very "colorful" person: sometimes he can get carried away by one, then he draws you into something completely different, or suddenly you get sms from him with a text such as “I love you, you are a perfect sum” - in one word, and you will understand this for a long time. Sometimes he may meet you with Kant’s book under his armpit and not communicate at all. This is a separate world, and he again led me to Elshan Mammadov. And my love for Elshan began a long time ago, from the play "The Millionaire". And love also holds me - to my partners, and to what is happening on stage. Because we have some new stories happening on the stage all the time. We’ll go to a hotel now, someone will drink champagne, someone will drink Martini, but we’ll talk about today's performance.
During these two evenings, some new stories took place on stage, were there improvisations?
Elena Morozova: Yes, there were, and I have something to say to my partners. Positive or negative?
Elena Morozova: You know, I personally don’t give ratings, I just see what is happening, and then we discuss the topic together and conclude: do we need it or not, will it be interesting for the viewer, is there any extra information, it enriches the action or makes it heavier.
Is it possible to consider the telephone phrase in the ending of the performance about the Indian stewardess an improvisation based on naturalistic observations already here on the spot?
Georgy Dronov: There was a lively reaction from the audience (laughs), I think these are the peculiarities of this country.
Elena Morozova: The fact is that this excites the whole world. Not only in the United Arab Emirates is a similar reaction of the audience. The main thing is fantasy, the theater allows the viewer to fantasize. By the way, we had fabrications about this moment, we thought whether to change it. In fact, this is the original French text - a Hindu with a red dot on his forehead.
How adapted is the original text of the author for the Russian-speaking audience? We learned certain phrases and a pioneer greeting, obviously this is not from the original. Have you seen the French version, is it different from the Russified one? Or is the performance now living its own life, and you are not returning, so to speak, to the original source?
Elena Morozova: When we read the play, we regretted that it contained a lot of jokes that we did not understand. Our producer Elshan, the translator himself, explained that in addition to outdated jokes (and the text was written about the adventures of Lovelace in the 1960s), there is also a certain play on words that will also be incomprehensible to our viewers, so the format was “tailored” just for us and modern public. And we tried to do our bit: we tried one option, then another. From the fact that we had the whole rehearsal process built on improvisations, from the fact that someone brought something, offered, and what appeared so far remained in the performance.
And does the change of composition in the entreprise make emotions “not blur”?
Elena Morozova: The change of staff has nothing to do with it. If emotions begin to blur, then people have nothing to do on stage. We begin a "debriefing" among ourselves, regarding the fact that "this find was good, but it needs to be removed, because it is addictive, but it just went" sometimes, we take offense at each other, but then the emotions fade, and a sober look at the situation is restored. The performance lives on, it is a living organism. If we stop treating him as a living creature that is growing, then we need 
will just stop playing it. For example, in Paris, the Boeing, the Boeing is no longer on, and in New York it is on ... And it doesn’t matter that 170 times, it’s exactly the same as 170 days, because if a person is 170 days, how many months? This is not enough at all. In the same way, the performance breathes and experiences.
Marina Dyuzheva: This performance takes place in Moscow with crowded rooms, people sit on chairs in the aisles.
Yes, here in Oak
Aye, there was a full house!
Marina Dyuzheva: You know, we are used to it - 1800 spectators, 1200, and spectators in the aisles. And the reaction is, imagine when so many people. But we quickly adapted, and the Dubai viewer is very attentive. At least, I personally was a little afraid that there would be a language barrier, the viewer might misunderstand something, because people have been living here for a long time.
Georgy Dronov: By and large, of course, all the same, this is an exam for us.
Marina Dyuzheva: Of course, the exam!
Georgy Dronov: Because there is the concept of "theatrical cities", but there are "not theatrical cities". And now the audience that was these days, it may have once gone to the theaters, but now, as I understand it, it was mainly people who were engaged in business, and for them the theater was a rather forgotten concept, more that he was not here, as you say. That is why these two performances were a certain test for us, we were faced with the fact that we had to remember the basics, we almost recalled this performance for ourselves.
I must say that you passed the exam with honor! Ready for new challenges?
All Yes! Call, come!
