Kostya Treplev is the most alive and authentic figure in this whole archaic and grandiose production. The heart of the story is Mironov.
... Impulsive and starry-eyed, sincere and emotional, he does not separate love and art.
... Yevgeny Mironov was chosen by Treplev himself.
Yana Kolesinskaya
Novosti v Novosibirske, 2003
Mironov is as effective portraying breathless devotion to Nina as the agony of failed ambition.
... In this
Seagull, Treplev is lonely and wretched as never before.
Alisa Nikolskaya
Vash dosug, 2001
Yevgeny Mironov makes for an utterly sincere Treplev. He imbues every one of Chekov's lines with legitimate justification.
Roman Dolzhansky
Kommersant, 2001
[The Tabakerka's] star Yevgeny Mironov is in fine form as usual.
Irina Korneyeva
Vremya MN, 2001
What the actor does onstage defies description. The best thing to do is go see the show and look into those eyes – full of heartbreak, heavy with the knowledge of defeat which Mironov himself should be a stranger to.
Igor Osipov
Komsomolskaya pravda, 2001
Yevgeny Mironov's Treplev – eternally exquisite, genteel, vulnerable, even more sensitive to life than he is to art – never realizes his true gift.
Vidmantas Silyunas
Courtesy of nescafe.theatre.ru, 2002
The acting of Mironov [and others]
... is edgier
... , tougher, more compulsive and urgent [than that of the original cast]. Their technique is flawless.
Grigory Zaslavsky
Novyi mir, 2002
[Mironov's] acting skills are always there to fall back on. He's
... responsive to his stage partners
... and has enough charm to steal applause every time he blinks. His turn in
The Seagull won't improve it much, but at least it's sure to make box office.
Viktoriya Nikiforova
Courtesy of weekend.ru, 2001
Only one performance in the restored
Seagull ... can hope to eventually give it
raison d'etre ... , and that is Yevgeny Mironov's Treplev. Mironov has given Treplev incredibly beautiful arms and hands that seem to exist separately from his body, and he fills the frequent gaps in the show's energy level with the graceful movements of those hands. He has endowed Treplev with dreadful headaches that come on suddenly like fits of insanity, and he scrouches down, tightens into a ball, rocks from side to side, squeezes his head hard as if trying to squash out his brain. Mironov plays a euphoric kid who discovers at every turn, with an almost joyful astonishment, that the world is not friendly, that his loved ones don't want him and that he's got no place to go. That is what Treplev remains until the end – touching and defenseless, not very talented but very sweet. In Act IV his arms seem stuck to his body, straight and stiff, having lost their marvelous flight.
... It is evident that what we saw on opening night was only
... an intermediate stage of Mironov's work on the character. But [this production's] future
... rests entirely with the success of [this work].
Vasily Ivanov
Afisha, 2001
[Translated by Vlada Chernomordik for the Yevgeny Mironov Official Website]
