In recent discussions with StarHit, Maxim Averin revealed his plans to transition from the Theater of Satire to the Moscow State Theater Lenkom, under the leadership of director Mark Varshaver. The move signals a notable shift for the acclaimed actor as he prepares to bring his talents to Lenkom for the upcoming theater season. Averin described the transition as a significant opportunity, emphasizing the privilege of joining a legendary stage and a renowned company that has long been a cornerstone of Moscow’s performing arts scene. His decision reflects a broader trend among leading Russian actors to explore new creative homes while continuing to contribute to the nation’s rich theatrical tradition.
Sources close to Averin indicate that the actor is aligning himself with Lenkom’s distinct artistic vision, which has historically blended bold storytelling with a tradition of actor-driven collaboration. The invitation from director Mark Varshaver is viewed as a recognition of Averin’s versatility and his potential to enrich Lenkom’s repertoire in the coming season. Industry observers note that such moves often come with opportunities to work on ambitious productions and to engage with a diverse audience across major cities, reinforcing Averin’s status as a prominent figure in contemporary Russian theater.
Concurrently, news from the broader theater sector on June 7 highlighted leadership changes across three capital institutions already shaping the city’s cultural landscape. Vladimir Mashkov was appointed as the head of Sovremennik; Evgeny Gerasimov became the artistic director of the Moscow Academic Satire Theater; and Konstantin Bogomolov took control of the Roman Viktyuk Theater. Each appointment underscored a period of strategic realignment within Moscow’s theater world, with a shared emphasis on sustaining high-caliber productions while nurturing new voices.
Despite these managerial shifts, the incumbents in related roles were retained in their current capacities. Vladimir Mashkov continued as the artistic director at Oleg Tabakov Theatre in Moscow, Evgeny Gerasimov remained at Malaya Ordynka Theatre, and Konstantin Bogomolov continued leading Malaya Bronnaya Theatre. This continuity suggests a deliberate balance between introducing fresh leadership and preserving ongoing artistic directions that audiences have come to trust. The consolidation of leadership across these venues points to an era of coordinated programming and cross-theater collaborations that could benefit actors, directors, and audiences alike.
Meanwhile, on June 8, Igor Berlin stepped down from his position as head of the Theater of Satire, marking another notable development within the city’s dynamic theater ecosystem. The timing of Berlin’s departure follows Mashkov’s earlier announcement about a possible joint project between the Tabakov Theatre and Sovremennik, signaling a renewed spirit of cooperation among Moscow’s venerable institutions. These shifts collectively map a moment of transition in which established theaters explore new partnerships and leadership configurations while preserving a strong commitment to artistic excellence.