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The originality of creativity of Raikin is in connection drama and comic, tragic and eccentric that gave a reason repeatedly to compare it to the great actor of the XX century Charlie Chaplin.

The laughter owns the auditorium. Raikin causes laughter, channelizes it, the purpose, gradually determines its force, shades. The score of laughter is born together with a new performance, with new images. Together with variety authors and playwrights the actor is lost in thoughts about life and a scene, about people with whom pushes together life, and embodied in a result in theatrical images.

Also began Rocks not as the singer, and as the actor of theaters of miniatures, drama, operettas. Its actor's abilities at once submitted also colleagues and the audience. Perhaps, even not so much still abilities, how many light energy of his temperament. Since early years in it cheerful and greedy inspiration, pleasure of life raged. And these qualities became the characteristics of its art.

Except compering in the program there was "MHET": "Maly art variety Theatre" - the combination of letters which is playfully reminding "Moscow Art Theatre" was so deciphered. Subsequently Raikin made jokes, in different ways beating a happy invention ("young, well, enteresno, it is talented").

Musicians were. However, first they for anything disagreed "to play the fool" according to director's plans of Utesov. "That I, - was indignant the trombonist, - became on a knee and by a trombone voice to someone was explained in love? For anything! Unless I for this purpose graduated from conservatory?" But - such is force of the real collective - the trombonist became on a knee. Moreover, then it turned into one of the most gifted, keen actors of "Tea-dzhaza" where the song, dance, a pantomime, the recitation, the clown and the lyric poet were alloyed together.

The person the actor, the singer who joined ranks of enthusiasts, the enthusiast - Rocks set the tone of cheerful mood, it is possible to tell, tone of life. How he sang "March of cheerful children", was for a long time remembered. It was march of a zhizneutverzhdeniye.

At Arkady Isaakovich as critics noted, the feeling of a satirical image was highly developed. It was shown in everything: in a scenic step with which it was allocated, in feeling of convention of action, in great attention to details and ability to express in them the most remarkable comedy lines of the character.

The performance of Theatre of miniatures "Favourites" acquaints us with history of theater. In one evening we see heroes of performances of different years. And all of them such different. The adherent of that was ("earlier earlier and kefir was better"). The person invested by the power but not so inclined to make decisions ("Where burns? What burns? Ah, burned down?"). The figure Sidorovich who found out like the hero of Gogol "Nose" that at it the head disappeared, but even nobody noticed it. The father of ten, is not present eleven children ("the whole soccer team", unless you will remember all?). Raikin addresses to each of them "the laughter". Laughter angry and good-natured, irreconcilable and uneasy, appealing to conscience.

He konferirovat, joked and even conducted. Raikin in a make-up of the hero of the movie "Big Waltz" I. Strauss appeared behind a conductor's stand, waved a stick and the orchestra executed the solemn musical introduction, as if notifying on opening of a season.

Utesov was included into theater easily, but gradually to Nym the understanding of responsibility, aspiration in each performance to be better than itself previous came. He did not miss any rehearsal, knew all roles in all performances of troupe and was ready to replace any actor. Means of expression were always enough: susceptible soul Utesov absorbed infinite impressions of life, and they settled in him. Utesov also naturally and easily gave them, as well as incorporated. Gave all - both the interlocutor, and the viewer. Telling about any meeting, it by all means reproduced both a voice and accent of the interlocutor, whether it be the Pole, the Kazakh, the Chinese or the Georgian. And the interlocutor not only saw this person, but also felt his character, a focus of his interests, understood how Utesov treats a subject of the parody! Therefore any conversation with Leonid Utesov - as if visit of solo performance.