A Season of Prolific Premieres and Artistic Prowess
The Moscow Department of Culture proudly announced a staggering 280 premieres during the 2024/25 season. This wasn`t merely a numbers game; officials lauded the significant uplift in quality, noting a remarkable increase in genuinely groundbreaking and successful productions compared to the previous, more subdued year.
The diversity on display was a feast for discerning tastes:
- The venerable Maly Theatre dared to playfully reinvent its classic vaudeville, “Lev Gurych Sinichkin,” to widespread delight.
- For those seeking a profound, contemporary experience, Konstantin Bogomolov`s work at the Bronnaya Theatre, particularly his unique takes on “The Seagull” and “The Death of Tuzenbach,” resonated as artistic manifestos.
- The Russian Academic Youth Theatre (RAMT), under Marina Brusnikina`s direction, presented the first stage adaptation of Ivan Shmelev`s “Year of the Lord,” subtly exploring the nuanced distinction between authentic family values and top-down ideological directives.
- The Vakhtangov Theatre`s “Landau`s Sun,” directed by Anatoly Shuliev, shone brightly, redirecting theatrical exploration towards the realm of science and its profound discoveries, a venture even applauded by “Skolkovo” scientists.
- Alexander Domogarov`s “Vertinsky” project revisited the bitter realities of emigration, a theme that, perhaps unexpectedly, found new resonance.
- Vladimir Pankov`s Saunddrama injected youthful energy into Karen Shakhnazarov`s 1980s novella “The Courier,” drawing a new generation of 21st-century youth to the Central House of Artists (CDR).
Intriguingly, sociological research points to a significant shift in audience demographics. The active theatre-goer is no longer predominantly from the older generation. Instead, the audience is now remarkably balanced across four age groups: 19–24 (21.8%), 25–34 (22.2%), 35–44 (22.5%), and 45–59 (22.4%). This demographic rejuvenation is undoubtedly a positive indicator for the future of Russian theatre.
Cultivating Talent and Strategic Shifts
The season also marked a concrete move by the Department of Culture to address a long-standing issue: the training of managerial talent. The launch of the All-Russian competition “Talents” to form a leadership reserve in Moscow theatres was a genuine effort to unearth potential. Nearly 400 hopefuls from 46 regions emerged, with 40 promising candidates undergoing internships at leading Moscow theatres and even receiving further education at GITIS, Russia`s premier theatre academy.
Early results are already visible, with the once-forgotten Pokrovka Theatre welcoming a new leadership team drawn from the competition winners. This initiative, while seemingly overdue, echoes the successful model of the Vakhtangov Festival of Theatre Managers (VFTM), which has for years fostered creative management by evaluating the *implementation* of ideas, not just their conceptualization.
Furthermore, the previous administration`s aggressive policy of merging theatres, which often yielded more discord than synergy, appears to have slowed considerably this season. The merger of “Lenkom” with the Centre for Drama and Directing (CDR) stands out as one of the few with a rational basis, given that Vladimir Pankov, the former head of CDR, now leads “Lenkom.” The hope is that this union of a vibrant studio and a venerable 98-year-old institution will prove fruitful, a rarity in past consolidation efforts. A small but telling victory in this arena was the return of the iconic theatrical masks to the facade of the Satire Theatre by its new artistic director, Evgeny Gerasimov – a symbolic gesture welcomed by many. The concerning trend of assigning multiple theatres to a single artistic director also seems to have been curtailed, a subtle acknowledgement, perhaps, that even creative geniuses have their limits.
Digital Horizons and AI`s Intrusion
The ongoing digital transformation of theatre, particularly through online broadcasts, has proven to be a powerful tool for audience expansion. The Mariinsky Theatre led the charge last year with over 90 million online views, 74 million of which were from Russia. The Bolshoi Theatre followed with an impressive 6.5 million viewers from 134 countries. Projects like “Golden Mask Online” further underscore the immense potential of digital formats in making theatre accessible globally.
However, the conversation around the role of artificial intelligence in theatre has become more pronounced and, at times, unsettling. AI is increasingly capable of generating play scripts and songs with impressive speed and, some might argue, without the “pangs of creativity.” Mikhail Shvydkoy, a respected figure in the cultural sphere, sagely observed at the St. Petersburg Cultural Forum: “It`s not so scary that machines create scripts, plays, but it`s scary that humans can become machines. We start imitating AI.” A chilling thought for an art form built on human empathy and raw emotion.
Behind the Curtain: Controversies and Challenges
The season was not without its share of drama, much of it unfolding off-stage.
The new centralized ticket sales system, “Mosbilet,” linked to the powerful Mos.ru platform, was a point of debate. While proponents saw its potential for streamlining access, particularly if it includes features like “passport-based” ticket sales to combat touting, many agreed it requires substantial refinement.
A small but significant victory for artistic labor saw actors, wrongfully dismissed from the Russian Army Theatre and the Yermolova Theatre, reinstated to their positions by court order, some even receiving compensation for lost wages and moral damages. A reminder that even in the arts, labor laws hold sway.
Then came the bewildering instances of political interference. In an act of what can only be described as bureaucratic absurdity, the Governor of Sevastopol cancelled the Vakhtangov Theatre`s tour just two hours before the first performance of “King Oedipus.” The reason? The production was by “traitor Tuminas,” a director who had, rather inconveniently for the authorities, been deceased for over a year, and whose tour was, ironically, approved by the Russian Ministry of Culture itself. This sort of calculative, career-driven patriotism, the article subtly suggests, poses a far greater threat to the nation than any perceived artistic “treason.”
The proposal for a new “Patriotic Theater,” decreed by President Putin and championed by writer Zakhar Prilepin, also raised eyebrows. While Prilepin`s sincerity is rarely questioned, the name itself sparked skepticism. As the original article pointedly noted, “Patriotism is not in slogans and signs.”
Efforts to reform the prestigious “Golden Mask” national theatre award are underway, with the Union of Theatre Workers initiating a conference to address its “systemic ailments.” The goal is to allow “all colors” of theatre to compete, rather than focusing on a single artistic direction, as has been perceived for the past two decades. This is a long game, requiring patience and caution.
Finally, the season concluded with a genuine shockwave: the successful manager Vladimir Kekhman, who heads several prominent theatres including the MXAT Gorky, found himself giving explanations to the Investigative Committee regarding alleged violations in renovation projects. Searches were conducted in three theatres under his management. Theories abounded, including speculation that the MXAT Gorky might be earmarked for the new “Patriotic Theater.” Yet, adding to the intrigue, Kekhman continues to oversee significant state-level projects, a perplexing twist in this unfolding drama.
And as a final, somewhat bitter note: the average ticket price across Russian theatres rose by 14% this season to 2,400 rubles. In Moscow, the increase was 9%, pushing the average to 3,200 rubles. While official statistics may offer more modest figures, the reality of 20,000 to 30,000 ruble tickets in leading Moscow theatres (and not just for a festive “Nutcracker”) makes one question the sincerity of statements about “fair principles of cultural policy for all.”
Conclusion: A Stage of Flux
The 2024/25 theatrical season in Russia was a period of intense activity and profound transformations. It showcased a thriving creative spirit, a willingness to embrace new audiences and technologies, and a commendable effort to nurture future leadership. Yet, it also laid bare the persistent challenges of political interference, bureaucratic complexities, and the ever-present tension between artistic freedom and external pressures. As the curtain falls on this eventful year, the Russian theatrical landscape remains a vibrant, if sometimes tumultuous, stage for both artistic expression and societal reflection.
