Olga Ostroumova will celebrate the anniversary in the “nursing home”
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September 21 is Olga Ostroumova’s birthday, and she will spend it … in a nursing home. Will appear on the stage of the Theater. Moscow City Council in the role of Pani Conti in the play “Solo for a striking clock”, staged by Pavel Parkhomenko based on the play by the Slovak playwright Oswald Zahradnik.
This is the first premiere of the anniversary 100th season at the Theater. Moscow City Council, which employs actors of the older generation: Evgeny Steblov, Anatoly Vasiliev, Leonid Fomin, Alexander Goloborodko. On Fridays, in the apartment of the former elevator operator Frantisek Abel, played by Evgeny Steblov, friends gather, the same old people as himself, but living in a nursing home. They reminisce about the old days, brave themselves with all their might, although someone barely moves their legs and speaks under their breath. Men are gallant, showing signs of attention to a beautiful lady. She is alone here, although there is still a young heroine, but this is a completely different breed. The young lady and the grandson of Abel break the ghostly idyll. The young couple intends to live together, but they don’t have their own living space and are ready to push their grandfather, move him to the kitchen, or even better, to a nursing home, to friends, so as not to hamper the nascent family life.
The decrepit male company of the “former”: the elevator operator, the messenger, the inspector, who still cannot understand that everything is in the past, and continues to behave as if he is on duty, adorns Mrs. Olga Ostroumova Conti. Her heroine also has a birthday, and her gentlemen are preparing for this event, bringing flowers. A happy celebration is ahead, but everything will go according to a different scenario.
It is impossible to avoid comparisons with the outstanding performance staged by Mikhail Yefremov and Anatoly Vasilyev in the old Moscow Art Theater with its grandiose old men Mikhail Yanshin, Mark Prudkin, Alexei Gribov, Viktor Stanitsyn and Olga Androvskaya. Many saw it thanks to the television version of 1974. Olga Ostroumova keeps the Mossovet performance iron-clad, although her heroine is weak and feminine, but that’s why she is strong. When one of her colleagues starts to spread, loses the rhythm, she raises the degree of what is happening, and her final dance is the apotheosis of what we have the right to expect from this performance ideally. The artistic director of the theater Evgeny Marchelli, after watching the run, called the cast fantastic. “He gives you goosebumps. What an amazing job our craftsmen do. Not today, not carelessly,” he said.
Olga Ostroumova managed to elegantly switch not just to age roles, but to the roles of old women. She is not young, such as she is, and this only adds fire to her heroines. In 2018, she played the eccentric Augusta Bertrand in Journey with Aunt based on the novel by the English writer Graham Greene, who arrives on the day of farewell to her sister, whom she has not seen for 50 years. In the crematorium, she sits on the coffin, presses on something and almost flies into the furnace with the deceased. Despite her advanced age, Augusta is energetic and adventurous and will be carried away with her ailing nephew to imaginary distant lands. Ostroumova once again proved that she is a fearless and sharp-character actress, and not a “lyric soprano”.
In April last year, for the first time in her life, she visited the Moscow International Film Festival, where she received a prize for contribution to cinema, posthumously awarded to her husband Valentin Gaft, who died in December 2020. Ostroumova at the age of 49 became his wife. Gaft was then 60. They got married in 1996, and this struck the theatrical world so much. It seemed to many that they were not a couple. And they lived together for 25 years. Olga Mikhailovna saved Gaft from loneliness. He’s been through a lot. Lost his daughter, found his son belatedly in Brazil. And on the stellar path of the MIFF, vain and insignificant artists were spinning in front of the cameras, whom Ostroumova bypassed, and no one paid attention to her. From the stage, she made a short speech about the modesty of her husband, read out his lines addressed to fellow student Oleg Tabakov: “Today, in the days of victories, the hours of recognition, when you are lifted to heaven – give all the orders, forget about titles, so that you don’t have to pay for the advantage” .
She herself seems to be without titles, although there are enough of them. “Olya is devoid of vanity. She is not immediately recognized on the street, and this is the property of a good actress. Another amazing property of her is that a woman is immediately felt in her, ”director Stanislav Rostotsky once said in our conversation, with whom Ostroumova made her debut in the film We’ll Live Until Monday. He did not shoot actresses twice, even his wife. And Olga Mikhailovna starred with him also in “… And the dawns here are quiet.” He greatly appreciated her acting talent and sincerity. It was with The Dawns that Ostroumova first went abroad – and immediately to the Venice Film Festival. There were no outfits corresponding to the event. What outfits when there was not enough money for travel. Rostotsky took Ostroumova and Irina Shevchuk to Vyacheslav Zaitsev. Each received three dresses. Rostotsky recalled that his actresses surprised their foreign colleagues by refusing to settle in separate rooms, preferring to live together.
Olga Ostroumova co-starred with Yevgeny Matveev in the films Earthly Love and Fate, for which she received the USSR State Prize, Roman Balayan’s Filelere, played the director of the school, a real fiend, in Nikolai Lebedev’s debut film The Serpent Spring. In the theater, she played Emma in Flaubert’s Madame Bovary, Elena Talberg in Bulgakov’s The White Guard, worked with Efros, rehearsed Bulgakov’s Margarita in the play of her first husband Mikhail Levitin in 1988. But misfortunes came: pipes burst in the theater, Levitin himself lost consciousness in the entrance, and as a result refused to work on The Master and Margarita. A lot has been done, but a lot is irrevocably gone.
Olga Ostroumova was born on the day of the Nativity of the Virgin. Her father was a school teacher and her grandfather was a priest. She went to enter the theater institute in Moscow, surprising her relatives with her decision. She had no one in the capital, and straight from the station Olga went to GITIS and entered. And so she went, achieving everything herself, without pushing anyone, she lived and lives with dignity.
Newspaper headline:
Anniversary at the nursing home
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