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In ”The Overcoat”, Marina Neyolova generously makes the best of her unique gift for acting. With all her overflowing brilliancy, the actress creates an extremely eccentric character and invents most incredible habits and goings-on. At the same time, this character is perfectly natural, and Neyelova makes us believe in it completely.

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Being an actor of Fokin’s theater is challenging. Being a spectator is no easier. Under Fokin’s directorial spell, the cast and the audience will never get any chance to relax, or to distract. Pressing the spectator hard, Fokin demands total immersion and promises no entertaining bonuses in return.

Vremia Daily, October 6, 2005

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Solitude is not the exact word for describing Bashmachkin’s miserable existence. It is a painful attempt to change the way of living and come back to a human life. A hopeless attempt that should inevitably fail. One will find no contradiction between the idea and its implementation on the stage. Valery Fokin shows us his Gogol, the Gogol he is familiar with.

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His theater productions focused on mysteries of sub consciousness, irreality and fantasy, Valery Fokin methodically and emphatically continues his quest. “The Overcoat” is the latest and, probably, one of Fokin’s best productions. Nothing superfluous in this show, mystique is realized through scenic effects, the metaphors are powerful and crystal clear. Valery Fokin fully understands the grand scope of his directorial technique and artistry.

Izvestia, October 6, 2005

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Fokin is a master of acute grotesque and fantasmagories. From a whole array of literary plots he chooses the ones that he calls  “sensational”.  Each Fokin’s sensational story is a mixture of plastic arts, sounds, and light. Each story comes true in a unique scenic space which, for all its fancy, is always intelligently and formally structured.


Kommersant, October 6, 2005

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