Born in Lugansk (Ukraine). In 1982, after graduating from the Moscow Choreographic School (today the Moscow State Academy of Choreography), where he studied at graduating class from Pyotr Pestov, was accepted into ballet troupe Bolshoi Theater.
For 10 years, his repertoire included the main roles in P. Tchaikovsky's ballets - " Swan Lake" (choreography by A. Gorsky, M. Petipa, L. Ivanov, revised by Yu. Grigorovich), "Sleeping Beauty" (choreography by M. Petipa, revised by Yu. Grigorovich) and "The Nutcracker" (choreographed by Yu. Grigorovich), Albert's part in "Giselle" by A. Adam (choreography by J. Coralli, J. Perrot, M. Petipa, revised by Y. Grigorovich), main party in the ballet "Chopiniana" (choreography by M. Fokine), the part of Cyrano de Bergerac ("Cyrano de Bergerac" by M. Constant, staged by R. Petit), Romeo ("Romeo and Juliet" by S. Prokofiev, staged by Y. Grigorovich) and others . He became the first performer on the stage of the Bolshoi Theater of the title role in George Balanchine's first ballet staged here - the ballet " Prodigal son"S. Prokofiev.
In 1992 he signed a contract with the Royal Danish Ballet, and a year later he was invited to perform the role of Prince Désiré in The Sleeping Beauty, staged by Helgi Thomasson, with the San Francisco Ballet. Since 1994 he has been the premier of this troupe. In 1999, he organized a tour of some of its dancers in Russia - the tour was called “Ballet without Borders”.
Since the late 1990s he has been actively working as a choreographer.
Among his works: “Spanish Songs” (1997, staged for San Francisco Ballet prima Muriel Maffre); "Duet for Two" (1997, staged for Joanna Berman); "Impromptu" to the music of A. Scriabin (1997, staged for Felipe Diaz; the number was shown on International competition in Jackson).
In 2002, he staged the ballet "The Damned" based on Euripides' tragedy "Medea". This performance was included in the theater's tour and was shown on the stage of the New York City Center.
In 2004, he staged the ballet “Studios in Motion” to the music of A. Scriabin and for the Oregon Ballet troupe “The Firebird” by I. Stravinsky, who followed the premiere and invited him to continue his collaboration.
"Magrittomania" was created as part of the San Francisco Ballet's "Discoveries" project (2000), and in 2001 Possokhov was awarded the Isadora Duncan Award for this production, awarded by critics to reward Western California ballet companies.
Also read biographies famous people:
Yury Vasiliev
The Dynamo Moscow center spoke in an interview with Sportsru about the reasons for the defeat from UNICS, his own tasks on the court and the prospects of hitting...
Yury Korneev Yury Korneev
Playing as a forward, Yuri Korneev became a seven-time USSR Champion (1959, 1961, 1962, 1963, 1964, 1965, 1966). As part of the team...
Born in Lugansk (Ukraine). In 1982, after graduating from the Moscow Choreographic School (now the Moscow State Academy of Choreography), where he studied in the graduating class with Pyotr Pestov, he was accepted into the ballet troupe of the Bolshoi Theater.
For 10 years, his repertoire included the main roles in the ballets of P. Tchaikovsky - “Swan Lake” (choreography by A. Gorsky, M. Petipa, L. Ivanov, revised by Yu. Grigorovich), “Sleeping Beauty” (choreography by M. Petipa in edition by Y. Grigorovich) and "The Nutcracker" (choreography by Y. Grigorovich), the role of Albert in "Giselle" by A. Adam (choreography by J. Coralli, J. Perrot, M. Petipa, revised by Y. Grigorovich), the main role in the ballet " Chopiniana" (choreography by M. Fokine), the part of Cyrano de Bergerac ("Cyrano de Bergerac" by M. Constant, staged by R. Petit), Romeo ("Romeo and Juliet" by S. Prokofiev, staged by Y. Grigorovich) and others. He became the first performer on the Bolshoi Theater stage of the title role in George Balanchine's first ballet staged here - the ballet "Prodigal Son" by S. Prokofiev.
In 1992 he signed a contract with the Royal Danish Ballet, and a year later he was invited to perform the role of Prince Désiré in The Sleeping Beauty, staged by Helgi Thomasson, with the San Francisco Ballet. Since 1994 he has been the premier of this troupe. In 1999, he organized a tour of some of its dancers in Russia - the tour was called “Ballet without Borders”.
Since the late 1990s he has been actively working as a choreographer.
Among his works: “Spanish Songs” (1997, staged for San Francisco Ballet prima Muriel Maffre); "Duet for Two" (1997, staged for Joanna Berman); "Impromptu" to the music of A. Scriabin (1997, staged for Felipe Diaz; the number was shown at the International Competition in Jackson).
In 2002, he staged the ballet "The Damned" based on Euripides' tragedy "Medea". This performance was included in the theater's tour and was shown on the stage of the New York City Center.
In 2004, he staged the ballet “Studios in Motion” to the music of A. Scriabin and for the Oregon Ballet troupe “The Firebird” by I. Stravinsky, who after the premiere invited him to continue his collaboration.
"Magrittomania" was created as part of the San Francisco Ballet's "Discoveries" project (2000), and in 2001 Possokhov was awarded the Isadora Duncan Award for this production, awarded by critics to reward Western California ballet companies.
Director Kirill Serebrennikov acted as the author of the libretto, director and designer of the performance, the music was written by St. Petersburg composer Ilya Demutsky, and the choreographer of the new ballet was Yuri Possokhov, the Bolshoi's premier until 1992, the current staff choreographer of the San Francisco Ballet. By translating Lermontov's prose - the ballet included three short stories: "Bela", "Taman" and "Princess Mary" - into the language of plastic arts, Posokhov did for the history of Russian literature something that Lermontov scholars could not achieve for the last hundred years. The novel appeared as a living 3D story of Russian life with its pride, courage, bravery, tenderness, self-sacrifice, friendship, sex and death, turning Lermontov from a rudiment into a modern writer.
The MK correspondent managed to wedge himself for an hour into the flow of events in the life of the triumphant choreographer: here he is rehearsing a duet with Igor Tsvirko and Dasha Khokhlova in the “Bolshoi Ballet” program at “Culture”, here he is giving a creative evening at the Bakhrushin Museum - and asked about Lermontov, about ballet, about life and about himself.
— Yuri, when is the happiest moment at the premiere?
“I’m just now starting to come to my senses.” The performance is over, everyone is on vacation, and you think: was there a boy?! Usually after the premiere I have depressive state. A kind of emptiness sets in. But there is delight the day before the dress rehearsal, when you see that the ballet has turned out well.
— How can a director and a choreographer stage a ballet? How to understand who is in charge, how to defend your position?
“We didn’t defend, we listened to each other.” Before starting work, I was afraid... Kirill really strives to dominate. But I smooth it out well sharp corners.
- When you start working on literary work In order for something to work, do you need to love the characters?
— There is such an expression: attractive person, attractive, charming. If there is no sexually attractive hero in a ballet, then there is no point in staging such a ballet. The hero must be sexy. The public needs a dream, something above the level of everyday life. For example, I can’t watch films about cruelty. Of course, not like “Caligula” or “Kill Bill” - the mood is figuratively conveyed there - but everyday life. There is already enough of it in life, so in the theater everything should be “sigh and gasp.” This is called the “artist level”, the ability to show the most base manifestations of how high art.
— Did you immediately like Pechorin?
— I began to treat Pechorin better thanks to the artists. They are so beautiful and talented! In the novel he is unprepossessing, short in stature, but then stallions come out... And the angle of view changes.
I like Pechorin. I understand his attitude towards Maxim Maksimovich, which is at first friendly, and then coldly snobbish, it happens. I’m on Pechorin’s side here too. Familiarity even with good people does not lead to anything good.
- But this is a serious problem: how, on the one hand, to keep your distance and at the same time allow yourself to open up and be sincere?
- On the other hand, people are afraid to allow themselves to admit that they love, they are afraid of showing feelings. In general, eternal questions!
- But, looking at your Pechorin, so brave, it seems that he is not afraid of death, because people don’t really interest him. He has a relationship with himself, he is obsessed with himself. Deep inside he has all his demons, his enemies...
“He is interested in nature, life itself, but not people. He studied people and understood them well. People are boring and predictable to him. He is not afraid of death, his hand does not tremble in a duel.
- But these Russians are stubborn and maybe - positive traits, In your opinion?
— I’m not sure that these are positive qualities, but I can’t call them negative either. There is some truth to this. Due to this, greater emotionality, fortitude, and the ability to collect oneself arise.
— You have been living in the West since 1992. First the premier of the Royal Danish Ballet, then the premier and staff choreographer of the San Francisco Ballet. You yourself probably already feel like an American?
— In the profession they don’t perceive me as an American. At some point I was rejected here as Russian. There was such a moment. But I feel, of course, Russian.
— Is it true what they write on Facebook that the ballet was staged for a year and a half, but was created in one day, on the eve of the dress rehearsal?
- Of course not. We worked a lot, met and discussed. Although, of course, there was still force majeure. We have three Pechorins and three compositions. And so, when Bolshoi went on tour to Brazil for a month, we didn’t have a single Pechorin and not a single Kazbich left. By a special order from the management, Igor Tsvirko was literally removed from the plane. In the first line-up Igor - Kazbich, in the third - Pechorin. I had to dance either for Kazbich or for Pechorin. My head was spinning, I asked: “Igor, who are you now?” So he remained in the first composition of both Pechorin and Kazbich. Kazbicha dances in a mask.
Ilya Demutsky wrote music for a whole year. When I left for last time, “Princess Mary” did not exist. I only received the score three months before the premiere.
— Did you, like Petipa, draw up a clear plan for the composer?
“I treated him like Petipa treated Minkus and Tchaikovsky. Now is not the time to dictate harshly. But we had moments when I realized that there was not enough music in this fragment, for example. And I asked Ilya to double the music. Ilya did. Then the director and I thought it was too long in one place, and we cut a large piece. Then I returned part of this piece. I was on the director's side. And then he called Demutsky: “Give me back this piece, I can’t live without it!” We won’t tell Kirill, we’ll insert a fragment, but he won’t notice!” And so it happened. This is a pas de trois with Vera, Pechorin and Princess Mary. And this music should not have happened! I can’t imagine if there were no pas de trois!
“Your faith has blossomed and come to the fore. Of course, you love her more than Princess Mary?
“I was afraid that against the background of my love for Vera, Mary would fade. But no! In Mary, unexpectedly for me as a choreographer, something appeared that I had never expected. Maybe it was the music, maybe it was the directing - Mary suddenly became a very powerful figure.
— But you yourself composed a ballet that gives a modern look at the 19th century. And, of course, you have Faith in the foreground.
- At first it was like that. But then the situation changed. For Mary we had to make additional exits. I realized that she deserves to be elevated.
- Yes, she’s a fool, Mary... She got caught like chickens and got in touch with Pechorin...
“She’s not stupid, she’s a child.” Well, like a correspondence student... But how she has grown! The girl's suffering turned her into an adult woman.
- Yes, it’s in French: to be beautiful, you have to suffer.
- And without French sayings, all Russian life is built on suffering. Russians suffer everywhere: both in life and in literature. And so it was in the 19th century, and in the 20th, and now. And I see the dramatic boom that's happening in . Unkillable love for beauty, literary language, the need for comprehension, for the elevation of human feelings.
I think that after drama - ballet is always a little behind - the great form, classical novels, will also soon triumph in ballet. The first steps have already been taken. Slava Samodurov will make “Ondine”. I'm very glad this started. Can you imagine how many performances by Russian choreographers we could see? We have so many talented people who have gone nowhere.
I will never forget or forgive the timelessness of the 80-90s and 2000s. We lost our school. I work in the West, before my eyes the English school of choreography grew, a huge galaxy of choreographers: Christopher Bruce, Christopher Wheeldon and Wayne McGregor, Liam Scarlett...
- We had one ballet by McGregor at the Bolshoi - now it has been filmed...
- Well, the Bolshoi Theater doesn’t need him!
- Why?
- Because you don’t need to take names. We need to come up with ideas. We should not move their ballets from there, but create our own at the Bolshoi. Try to persuade Neumeier to create something at the Bolshoi! Never! He can only endure. Now send him to the gym, he will be confused, cry and refuse to work.
— Would you risk staging the Bolshoi on the historical stage?
- We could try. This is interesting. On the historical stage of the Bolshoi there is very little that can go on. Is it possible that Yuri Nikolaevich Grigorovich was successful with his monumental choreography?
— You know, when the highlander dances started at Bela, it suddenly became clear that they were being choreographed by a person who had danced at Spartak for more than one season... Did you have nostalgia for Grigorovich’s ballets?
- No, there is no nostalgia. But perhaps something like this manifests itself on a subconscious level. Western critics sometimes notice the influence of the Soviet period in my works. If I had been confident in the corps de ballet, I would have staged a different, more complex choreography. But they cannot count, they cannot cope with the ragged rhythm. It's a pity... The music is really complicated. But, in my opinion, very successful. I fell in love immediately and learned the score by heart. I can sing everything one-two-three-five-six. Composer Demutsky and I have big plans.
— Ballet based on Russian classics?
- No, based on the novel by Balzac.
— Why do you think there is such nostalgia for classic stories now? Do you want to see the norm? Warm human relationships? A traditional family, for example?
“As you get older, you realize that there is nothing closer, dearer and more valuable than family. Things didn’t always go smoothly for me, there were different periods. And I know that this cannot always be maintained. But for me this is the most great value in the world. This is not discussed. If you have a different opinion, keep it to yourself.
- Well then, if Pechorin is a person you like, then over the years he should also get married, following your logic?
- I believe: he will get married and have many children! I don’t know why the performance turned out this way, but I feel it as a continuation of Eugene Onegin. It’s as if Onegin will come in and they will sort out all the questions of Russian life.
The first period of production rehearsals for the ballet “Nureyev” has ended at the Bolshoi Theater. World premiere is being prepared by the same team that staged the acclaimed “Hero of Our Time”: composer Ilya Demutsky, director Kirill Serebrennikov and choreographer Yuri Possokhov. TATYANA KUZNETSOVA asked YURI POSOKHOV about what the ballet “biopic” dedicated to the legendary dancer would be like.
Judging by the stories of Kirill Serebrennikov, your “Nureyev” is similar to a film in the biopic genre - a biography of a hero from childhood to death. What, will you start straight from Ufa?
There will be no Ufa, and there will be no dancing on trucks stacked together when little Nureyev lost his pants. There are many episodes in the ballet, but still this is not a retelling of the biography. Rather, these are flashes of Nureyev’s life, not a documentary, but rather a surreal “film”. Not an attempt to show the artist “as if alive,” but a reflection of his genius in our minds, hearts, souls - mine, Kirill, Ilya.
- Will you have the Vaganova School? Kirov Ballet? Teacher Pushkin, who raised Nureyev?
There is no need to expect everyday facts or visual similarities from ballet. If Pushkin appears here, he will stand with his back to the audience and not move. Our performance is not realistic, but theatrical: there will be singers, a choir, and Komsomol members on stage...
- Will the KGB men dance?
Should be. But perhaps we will abandon this idea. Kirill’s concept seems very correct to me precisely because there is no specificity there. Everything is more or less figurative and elusive. Of course, there are fundamental things, and that’s what I’m focusing on now. First of all, this is Erik Brun (Danish dancer.- “Kommersant”). I started staging the ballet with his duet with Nureyev. Rudolf first saw Brun in Leningrad, when he himself danced in Kirovsky. And when they met in Denmark, Nureyev said: “I want to dance like you.” For him, Eric was the standard classical dance. He understood that our school was not so clean. Western aesthetics, its elegance, its imperturbable beauty captivated him. Not to mention the quiet independence of Eric Brun, completely different from the independence of Nureyev. All this provoked a love explosion. I can understand that.
- Do you think it was main love in Nureyev's life?
It was the talented love of two antagonistic geniuses. Eric is such a handsome Viking, the embodiment of endurance. He was a national hero in Denmark. Emblem man. Always with a cigarette - in class, at rehearsals, in Everyday life- it was his third hand. He died of throat cancer in Canada. Nureyev flew to him, dying, although they had parted long ago. The aesthetic that appeared in Nureyev’s dance in the West is 100% Eric Brun.
- Nureyev is associated primarily with the classical repertoire. Will you have fragments of his parts in the ballet?
In the second act. But modified. I even use elements of “La Sylphide” in a duet. Nureyev himself wanted to dance the modern repertoire, but he wasn’t very good at it. And I'm an orthodox choreographer, so run away from classical technique I can not. Where will we go without cabrioles and two tours, when my heroes performed them to the standard?
-Have you seen Nureyev dancing yourself? Alive?
Yes, and I don’t know a more remarkable dancer who would have such an influence on the ballet of today.
With what? I also saw Nureyev on stage in Paris in the 1980s, and although I did not know about his illness, he seemed like a ruin to me: exhausted, tired man, who had a very hard time with entrechat and who was suffocated by his luxurious costume of the Sun King.
And it seemed to me that this was the embodiment of deliberateness, pompous audacity of art - when everything is beyond what is expected, beyond what is permitted. I saw a parade of beauty: Ludovic Nureyev gorged himself on beauty, he was fed up with it.
- Are there many Nureyevs and Erik Brunovs in the Bolshoi?
Four for now. But then I thought about the fifth Nureyev.
- Usually choreographers choose one cast of soloists and compose choreography “for them.”
And then we decided that we would decide on the lineup closer to the premiere. We will look at the artists’ capabilities, their response, and the results. Naturally, I will adapt to them, but the choreography is still mine. Any choreographer relies on his body: how it feels, so he choreographs. Just look: Lesha Ratmansky’s ballets are the spitting image of himself, McGregor’s ballets too. When they say: “I bet on this ballerina,” this is not entirely true. I'm actually using her body. And I'm betting on myself.
- Will the Bolshoi artists cope with the standard purity of the classics?
I really count on them. For me to cope with the choreography, we need to help each other. Now the Bolshoi has a wonderful galaxy of soloists, I adore them, I simply admire their talent. But still, they do not have a completely Western sense of dance - there is no pedantic grace, no love for finishing movements. Our wonderful beauties with a great Russian soul will search with me for a sense of form. Fix the passe, try not to squint your feet... In class I see that my favorite artists are not at all bothered by squinty feet. They're not going to work on it. But you have to. But that's just me, for laughs.
- Did you yourself want to stage a ballet about Nureyev or is this an order from the theater?
I gave it to Vladimir Georgievich (Urin, general director of the Bolshoi Theater. - “Kommersant”) there are five names to choose from, and we settled on “Nureyev”. His anniversary will be in 2018, somehow all this is logical.
- How much time is allocated for the production?
- When will Serebrennikov join the rehearsals?
It’s very busy here, and it’s a great success in the West. But at this production we need to meet as often as possible, so I’ll call him myself. I will probably have to consult with him even in terms of choreography, not only in terms of directing or acting.
- Was it different in “Hero of Our Time”?
There we made a script, discussed everything, and then I staged almost all the main choreographic material before Kirill came to the theater.
- When you staged “Hero,” Ilya Demutsky wrote music during the production. What about now?
The music is ready, I already received the second act. We'll have enough big ballet- two acts of about fifty minutes each. The music is absolutely amazing. Ilya is our hero symphonist, with a wonderful conservatory background. Very a rare event Nowadays. Especially in ballet, the choreographers stage entirely minimalist composers. And if they choose someone from past centuries, then it must be a composer of the 17th century or Bach, who also has a clear measured rhythm.
- Really. And why?
Because it's easy to install. Because for modern choreographers, music is the background. For them it is a rhythmic pattern within which they must show their virtuosity. You can place it lengthwise, across, or on top of the music. As many movements as you like or, conversely, the very minimum - pure balancing act. And the music drips, drips onto your brain, lulls you to sleep, you think: when will this end? Now we are in San Francisco (Yuri Posokhov is a staff choreographer of the San Francisco Ballet.- “Kommersant”) announced production plans - again Philip Glass. And I’m old-fashioned: I love music with phrases, emotions, unpredictable.
During the production of “Hero” you complained precisely about the unpredictability of Demutsky’s music. I remember he even wrote cheat sheets for you - he noted the change in time signature by beat.
- “Hero” was Ilya’s first ballet. And he got excited and overexcited: he could suddenly insert a rhythmic glitch - one bar of one-twentieth among the music of one-eighth. Now I don’t have such problems - on “Optimistic Tragedy”, which we did in San Francisco, he took into account all my wishes.
- “Optimistic tragedy” in the USA? Like Helgi Tomasson (artistic director of the San Francisco Ballet.-“Kommersant” ) allowed such a performance?
Trusts. But the conditions were strict - only 15 days for production. And the public? Well, she clapped. Although I don't think I understood what it was about.
- Did the artists understand?
My anarchists are entirely Cubans. The captain was also Cuban, but he broke down (he was injured.- “Kommersant”). Cubans understand everything about the revolution. And how talented! This is an amazingly gifted nation for ballet. Especially men - height, long legs, features, gestures, posture - handsome men, princes! Women are worse: they are stocky, clumsy... Cubans understand everything very well about their talent, but they have a weakness - laziness.
- How did you even come up with “Optimistic”?
Three or four years ago, when Sergei Filin and Kirill and I were choosing what we would stage at the Bolshoi, Serebrennikov, among other things, suggested “Optimistic.” This stuck in my mind. And in San Francisco I was going to stage a plotless one act ballet, ordered music from Demutsky. But when Ilya sent her, I realized that I couldn’t easily cope with her - it was necessary story line. For the first time in my life, I introduced a plot into finished music. But in 30 minutes what can you show? In my “Optimistic” even the relationship between the anarchists and the captain was not worked out, not to mention love line- so, some hints. We started with health - we showed the conflict on the ship, and after the death of the Commissioner we moved into “imagery” - waves, a kind of departure to nowhere. The music had to be cut, terribly - to the point of being live. And she is there - a complete apotheosis! We should go back to “Optimistic” and do a full two acts. But where?
- Yes, anywhere. You are a sought-after author, you publish everywhere, you have plans written for several years in advance.
Only for the next three years. Yes, I stage it in America, in Denmark, here in Russia. But in general, few people know me.
- So how? What about globalism, ballet without borders?
Globalism was when it reigned classical ballet. Now the classics are being replaced modern dance. I don't understand at all modern choreography V academic theaters. Artists study for eight to ten years at school - skids, pirouettes, two rounds in the air, and so on, then they come to the theater, forget all this and begin to twist their shoulders and knees. Previously, the same McGregor would never have been accepted into the classical troupe. And now his performances are shown in Covent Garden, at the Paris Opera. They don’t play it in the USA; they have their own favorites. In fact ballet world- this is such a get-together where everyone stews in their own juice.
Born in Lugansk (Ukraine). In 1982, after graduating from the Moscow Choreographic School (now the Moscow State Academy of Choreography), where he studied in the graduating class with Pyotr Pestov, he was accepted into the ballet troupe of the Bolshoi Theater.
For 10 years, his repertoire included the main roles in the ballets of P. Tchaikovsky - “Swan Lake” (choreography by A. Gorsky, M. Petipa, L. Ivanov, revised by Yu. Grigorovich), “Sleeping Beauty” (choreography by M. Petipa in edition by Y. Grigorovich) and "The Nutcracker" (choreography by Y. Grigorovich), the role of Albert in "Giselle" by A. Adam (choreography by J. Coralli, J. Perrot, M. Petipa, revised by Y. Grigorovich), the main role in the ballet " Chopiniana" (choreography by M. Fokine), the part of Cyrano de Bergerac ("Cyrano de Bergerac" by M. Constant, staged by R. Petit), Romeo ("Romeo and Juliet" by S. Prokofiev, staged by Y. Grigorovich) and others. He became the first performer on the Bolshoi Theater stage of the title role in George Balanchine's first ballet staged here - the ballet "Prodigal Son" by S. Prokofiev.
In 1992 he signed a contract with the Royal Danish Ballet, and a year later he was invited to perform the role of Prince Désiré in The Sleeping Beauty, staged by Helgi Thomasson, with the San Francisco Ballet. Since 1994 he has been the premier of this troupe. In 1999, he organized a tour of some of its dancers in Russia - the tour was called “Ballet without Borders”.
Since the late 1990s he has been actively working as a choreographer.
Among his works: “Spanish Songs” (1997, staged for San Francisco Ballet prima Muriel Maffre); "Duet for Two" (1997, staged for Joanna Berman); "Impromptu" to the music of A. Scriabin (1997, staged for Felipe Diaz; the number was shown at the International Competition in Jackson).
In 2002, he staged the ballet "The Damned" based on Euripides' tragedy "Medea". This performance was included in the theater's tour and was shown on the stage of the New York City Center.
In 2004, he staged the ballet “Studios in Motion” to the music of A. Scriabin and for the Oregon Ballet troupe “The Firebird” by I. Stravinsky, who after the premiere invited him to continue his collaboration.
Best of the day
| One woman - one theater Visited:114 |
Veteran stand-up and sketch show Visited:108 |
In the style of " new wave British heavy metal" |