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Kolyada delighted the viewer himself. Why does he need a wife?


Single skating, as figure skaters themselves sometimes joke, is something between a diagnosis in a medical record and state of mind. They are such individualists that, it seems, in their passports, along with their marital status and military duty, there should be a “single athlete” column.

That is why top-level athletes, even with a broken wing, rarely decide to move to couples. The reason for exclusion, and even then not for everyone, is participation in the show. If it brings good money, you can tolerate someone next to you.

Sometimes even money doesn't motivate. An excellent example is Alexey Yagudin. At the dawn of the TV show about stars on ice, he spent one season paired with singer Victoria Daineko, but quickly realized that duet work was not for him. And for ten years now he has appeared in “Ice Age” only as a presenter.

Evgeni Plushenko visited the same “Lednikovy” once and also exclusively as a presenter – to train sideways side by side with an unknown lady and carrying her in his arms initially did not attract him.
It seemed that Mikhail Kolyada was from the category of the same single “single skaters”. Self-sufficient and unique, he was always responsible for the piece circulation, for the art of figure skating. Without any need for props, scenery or stage partners, each time I was amazed by the depth, sense of pose and music.

Once at a concert for the anniversary of coach Alexei Mishin, Mikhail Kolyada had to dance with Anastasia Gulyakova . During the two minutes of the whole number, he took her hand a couple of times, and was clearly burdened by this responsibility. So much so that I wanted to sympathize with the “unwanted” partner.

Understanding the context, one can imagine what a surprise awaited the audience at the show program tournament (it took place on March 19 at Yubileiny). Misha presented a joint performance with his wife Dasha. She is a former figure skater, now engaged in aerial acrobatics, so without fear she descended to her husband from the ceiling on a trapeze and then flew back.

Her role in the production is minimal both in meaning and in time, and the main role is assigned to Kolyada. Since the skaters cope with the libretto about eternal love alone, there is no doubt that Misha himself would have conveyed the image to the viewer without spilling a drop. Moreover, the song “I will never forget you”, which is understandable to everyone, was chosen as the musical accompaniment.

Everything sounds so complete and simple that the question arises: wouldn’t it be better for us to look at Kolyada alone? And if you remove Dasha from where Misha could usually reign alone, will this number lose at least something?

It’s surprising to admit this, but it will lose. He will lose Kolyada as we have never seen him before. It's not about a well-cut shirt and trousers with a wide belt – such chic experiments with style were not noticed during Misha's career, although his suits were always cute. The point is not that Misha is in great shape almost a year after the break.

It's about passion, expression and sensuality, which was so strong and natural here that it hypnotized. It was this sensuality that Kolyada had never had before.

He could be sweet and funny, as in “Well, wait a minute” and “ Chaplin.” Could be a ringing guitar string under a pick, as in programs for the music of Muse and Scorpions. He was a symbol of ballet in “Carmen” and “White Crow” – precise and chiseled.

But being an example of pure art, he always presented himself in a good sense asexually, without putting anything physical into his skating. He seemed to turn inside himself, only allowing us to observe the magic of movement, and did not involve us in the ritual.

Who would have thought that Kolyada had real male charisma and strength will manifest itself exactly at the moment when it will not represent itself to the audience and the world – the woman it loves. I’m afraid we will never be able to forget about this side of Kolyada. We will miss her and begin to howl with renewed vigor about Misha’s suspended career so early.

Everyone has strengths. Evgeni Plushenko is great in his character. Nathan Chen's work ethic is monumental. Ilya Malinin went down in history as the conqueror of the quadruple axel, and in this he is great at only 19 years old. Mikhail Kolyada is great because even from simple Bedouin jumps he can make a symphony. But we knew this for a long time. But the fact that without a single word, only with movements and impulses, he can say much more about his feelings than in a dozen extensive interviews is an unexpectedly discovered treasure.


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