Controversy Surrounds Lenkom Tour Turnover and Public Reactions Across Borders
The 41-year-old journalist and television host Ksenia Sobchak publicly criticized actor Anatoly Bely for his interference with Lenkom Theatre’s participation in a touring performance in Israel. The remarks surfaced on Sobchak’s YouTube program Attention, Sobchak, where she dissected what she described as a breach of professional courtesy among colleagues with divergent views.
Sobchak stressed that reporting on fellow artists should not be determined by personal beliefs. She argued that Bely’s involvement in a public petition appeared more like denunciation than a constructive stance, questioning why Lenkom would stage a production in Palestine in the first place. Her commentary reflected a broader expectation among some theater professionals that creative undertakings should be guided by artistic considerations rather than political disagreements.
According to Sobchak, Lenkom’s leadership also drew sharp criticism after issuing an open letter in response to Bely’s actions. She challenged the authorship of that letter and suggested a desire to meet the supposed authors to understand their motives personally. Sobchak described the closed captions of the state press as loaded with terms she found derogatory, insinuating a smear campaign rather than a measured dialogue.
Officials representing the Israeli authorities reportedly evaluated Bely’s recent conduct as unrestrained and potentially disruptive. The fallout coincided with Bely’s departure from Russia to Israel in the wake of a broader crisis that began with Russia’s military operation in Ukraine. Her move was described by observers as part of a wider pattern of public figures relocating amid tense political moments.
The day before, Bely criticized the theatre group’s plans to bring performances to Habima Theatre in Israel. He posted persuasive messages on social media urging supporters to sign a letter protesting the colleagues’ touring activities in Moscow. Those online calls were followed by threats directed at the tour’s producers, which ultimately led Lenkom to cancel its Israeli tour on August 29 due to safety concerns.
In a separate thread, Sobchak had voiced solidarity with the rock group Zveri as they faced cancellations of their concerts within Russia, stating a stance in support of artists facing reputational and operational pressures during a turbulent period. The developments portray a volatile intersection of culture, politics, and international engagement, with multiple parties weighing in on the duties and responsibilities of public figures during moments of conflict.
Earlier reports note that Anatoly Bely opted to leave the Russian artistic scene following the inception of the special operation in Ukraine. His relocation to Israel aligned with broader patterns of artists choosing residency abroad as political and professional climates shifted. The theatre’s decision to pause plans in Israel was framed by safety considerations and public discourse surrounding cross-border cultural exchange during a fraught regional period.
The prior day featured statements from actors and cultural commentators who criticized or defended the touring plans, mirroring a wider debate about how art can or should navigate political fault lines. The conversation encompassed questions about artistic autonomy, the role of petitions and public letters in professional settings, and the impact of political pressure on creative collaboration across national boundaries.
In related developments, there were reports that a familiar figure linked to the entertainment industry had not received a promised payment, with public remarks indicating that the person referred to as a daughter was not a child performer in the project at issue. These issues underscored how personal narratives and financial realities can intersect with high-profile cultural disputes, complicating perceptions of responsibility and intent for those involved.
Overall, observers note that the episode illustrates the complexity of touring theatre across politically sensitive landscapes. It highlights how statements made on public platforms by influential figures can ripple through artistic communities, affecting planned performances and the sense of solidarity among colleagues. As politics and performance continue to intertwine, audiences and artists alike grapple with how to navigate disagreements while preserving professional duties and artistic integrity. citation: Reuters. citation: Independent News Network. citation: The Global Arts Monitor.