The situation around Danila Kozlovsky has become a focal point inside Russia’s theater circles. In a recent interview, Maly Theater director Andrey Zhitinkin hinted that behind the curtain there are people who would like to see Kozlovsky sidelined, even removed from stages at major venues like the St. Petersburg MDT and the Moscow Chekhov Moscow Art Theatre. He pointed to the existence of backstage plotting that could influence creative lineups and the public perception of the actor. This sense of intrigue, he said, is not born from the performances themselves but from the human dynamics that accompany high-profile talent.
According to Zhitinkin, Kozlovsky’s standing in the theater world is undeniable. His skill, his sense of national spirit in certain heroic roles, and theon-screen presence that draws audiences are all cited as strengths. Yet, as with many artists who carry national significance, there are voices that envy such success and are prepared to challenge it in visible ways. The director noted that some colleagues would go to great lengths in a bid to shift attention away from Kozlovsky, underscoring a competitive atmosphere that can color public discourse about a performer’s career.
Zhitinkin emphasized that Kozlovsky’s ongoing performances should not be halted due to a brief stay outside Russia to visit his young daughter who resides in the United States. He suggested that the explanation behind the trip deserves consideration rather than hasty judgment, and he urged patience before drawing conclusions about the actor’s professional commitments. The point, in his view, is not about a lapse in loyalty but about the complexities of balancing personal life and a demanding artistic schedule.
The director also addressed Kozlovsky’s remarks regarding Russia’s military operation in Ukraine, describing those comments as one role among many the actor has played or voiced in public life. He did not treat the remarks as an absolute truth in the sense of a personal confession, framing them instead as part of a public persona shaped by a variety of circumstances. This perspective aligns with broader debates in the theater community about how public figures express national sentiment while navigating international scrutiny.
Earlier in the conversation, Kozlovsky had responded to comments from Yana Poplavskaya who accused him of leaving the country, defending the need to attend personal matters abroad. The exchange underscored how quickly public narratives can shift and how important context becomes for audiences trying to understand a performer’s decisions. In the theater world, such dialogues are common and often reflect the pressure that comes with fame, media attention, and the expectations of fans and sponsors alike. The dynamic between personal life, career choices, and public statements remains a constant thread in discussions about contemporary actors who operate on both national and international stages. This ongoing discourse illustrates how a single career can generate a spectrum of interpretations, each colored by separate priorities and loyalties within the artistic community and the audience at large.