A Moscow Theater Cancels a Drama Performance
The Moscow Theater Center for Drama and Directing canceled the performance of the play Bear without providing an explanation. Reports referenced a concerning incident tied to the cast, noting red flags about the production’s fate after this decision.
The show featured actor Alexander Feklistov, widely recognized by audiences for his role as Alexander Berkovich in the television series Matchmakers. Initially, Bear was slated to be replaced in the schedule by another production titled Mother, based on a play by Asya Voloshina. Ultimately, the Bear performance did not go on, and the production was withdrawn from the repertoire.
Observers have suggested that the cancellation may be connected to a video message recorded by Feklistov some time earlier aimed at Ukrainian colleagues. In that video, the actress described feeling deep shame and disgrace in relation to the special operation in Ukraine. The airing of such remarks surrounding a geopolitical crisis has been cited as a potential factor influencing the theater’s decision to pull the show from the lineup.
Feklistov reportedly did not comment on the circumstances surrounding the cancellation or the related demonstrations. In subsequent public remarks, another former actor, Vladimir Steklov, spoke about calls for boycotts while supporting efforts linked to his own appearance in a different region. Steklov, who was born in Karaganda, Kazakhstan, indicated plans to visit his hometown with a separate performance. He expressed surprise that local organizers requested the withdrawal of performances in connection with his name, highlighting how sensitive the situation could become when cultural events intersect with political sensitivities.
Industry watchers note that decisions of this nature often reflect a tangle of artistic choice, audience expectations, and external pressures. The theater community understands that such cancellations can ripple through schedules, financing, and audience trust. In this case, the absence of an official statement from the theater adds to the ambiguity, leaving critics and fans to piece together the narrative from on-record comments and reported timing of the events. The dissemination of remarks by actors who draw attention to political matters historically influences how theaters manage risk, public perception, and artistic freedom.
Artistic directors frequently balance commitments to storytelling with accountability to the public and to national conversations. When a production is halted, stakeholders weigh the potential impact on the company’s reputation, the artistic team’s integrity, and the expectations of audiences who seek meaningful cultural experiences. In the absence of a formal rationale, the episode becomes a talking point about how sensitive topics are handled on stage and how performers’ personal statements may shape a theater’s ability to present certain works.
From a broader perspective, the incident underscores the ongoing tension between creative expression and public discourse in contemporary arts. The theater scene in Moscow, as in many cities, continually navigates questions of how productions can reflect complex real-world events while maintaining a safe and inclusive space for performers and spectators. The cancellation of Bear invites examination of the measures theaters take to preserve artistic diversity while responding to community concerns and geopolitical developments, a balance that remains central to the modern performing arts landscape.
As the situation evolves, critics and audiences will likely monitor any official statements from the theater about future programming, the status of cited productions, and potential changes in the lineup. The episode serves as a reminder that cultural institutions operate at the intersection of art, politics, and public sentiment, where decisions are seldom simple and the stakes can be high for everyone involved. Citation: reports from industry observers and statements attributed to participants in the events.