A controversy surrounds a Cinderella performance by the Perm Youth Theater amid LGBT-propaganda concerns
A woman in Perm voiced objections to a character in a skirt appearing in the play Cinderella, performed by the Perm Youth Theater, during an interview with Properm.ru. She stated she would not lodge a complaint with the prosecutor’s office over the content of the performance, but she did raise concerns about what she viewed as inappropriate elements in the production.
According to her account, she expressed to the theater director her discontent with the depiction of a general in a skirt on stage. She said the director gave her assurances to examine the matter and assess whether the portrayal aligned with the production’s intended narrative and costume choices.
In response, the regional Ministry of Culture’s press service said that no complaints had been received about LGBT propaganda within the performance. The statement suggested that authorities had not identified formal indications of such material in the play as of that moment.
On social media, the theater addressed the criticism raised by the Perm woman. The theater explained that the skirts interpreted as part of the military uniform are a visual element of the production, and it emphasized that Cinderella is a fairy tale. The company noted that a performance creates a separate, self-contained universe with its own internal logic, and argued that a fictional general within a fairy tale cannot insult or threaten a real military officer in any way. The theater’s position highlighted the distinction between the fantastical world of a fairy tale and real-life institutions, and it urged audiences to separate the onstage fiction from actual events.
In December, Perm Theater of Young Spectators faced scrutiny tied to LGBT-propaganda concerns over the Cinderella production. The case drew attention to a law in Russia that restricts LGBT propaganda, with penalties that can be quite severe for individuals and entities alike. As of December 5, the law has been in force, and violations can carry fines for individuals and substantial penalties for legal entities. This regulatory context had implications for how performances are reviewed, discussed, and presented to the public, particularly in regions with active cultural programs and public interest in the boundaries between artistic expression and societal norms. The ongoing discourse around the play reflects broader conversations about artistic freedom, public sensitivity, and the role of government oversight in cultural events, as observers weigh the balance between creative storytelling and legal constraints. (Source: Properm.ru)”