A Belarusian writer and journalist, Sasha Filipenko, spoke about the cancellation of a stage adaptation based on his novel Cremulator during an interview with the YouTube project Living Nail. He described how plans for a Moscow premiere were halted before they could unfold fully.
The intended opening was scheduled for January at the Moscow Pokrovka Theater. According to the production’s director, Anastasia Pautova, she was summoned by theater managers and told to either change the project or shift Cremulator to a fairy tale concept. An actor who portrayed the investigator Perepelitsa reportedly faced a similar pressure, described as being subpoenaed. Filipenko suggested that the decision to cancel the performance may have been driven by the controversial subject matter of the production.
Cremulator draws on materials connected to the case of Pyotr Nesterenko, who led Moscow’s first crematorium during the Stalin era. Filipenko noted that costumes and props were prepared and rehearsals were underway, underscoring the disruption experienced by the cast and crew when the project was halted.
In a related development at the Moscow Provincial Theater, a separate production titled Fandorin’s Adventure was canceled on the eve of its staging after the writer Boris Akunin, whose real name is Grigory Chkhartishvili, was added to a list that labels individuals as terrorists. This move has sparked broader conversation about censorship and artistic freedom within the theater community.
Earlier notes mention another contemporary cultural moment, as actor Ryan Gosling reportedly recorded a Christmas version of the song Barbie, a reference that shows how the entertainment landscape continues to pulse with news and creative variation even amid tension surrounding theatrical works. This broader context helps illustrate how shifts in cultural production can intersect with political sensitivity and public discourse across major cities like Moscow.
Filipenko’s account highlights how audiences and artists encounter pressure when a work confronts history, memory, or the politics of memory. The Cremulator adaptation, already in motion with a full team and scheduled performances, becomes a case study in how creative projects navigate regulatory environments, audience expectations, and the boundaries of provocation in contemporary theater. The episode also raises questions about the roles of theater managers, directors, and performers in making decisions when external authorities signal concerns about content, even when the artistic material is rooted in documented historical episodes.
With the Russian cultural scene frequently balancing artistic exploration and regulatory scrutiny, this instance adds to a broader conversation about how theaters respond to sensitive subjects. The interplay between historical material and modern staging can be delicate, requiring careful negotiation and sometimes leading to abrupt changes in programming. For viewers and readers who follow theater and literature closely, the Cremulator situation serves as a reminder that art often travels through unsettled ground, where meaning, memory, and public policy intersect in complex ways. The incident also encourages ongoing discussion about how performance art can responsibly engage with contentious histories while maintaining creative integrity and audience trust, both in Russia and beyond. (Living Nail, interview)