The Moscow City Council recently premiered Dmitry Astrakhan’s staging of Holidays for Valentine, headlined by Dmitry Dyuzhev and Glafira Tarkhanova. According to the play’s press service, the production reimagines Bernard Shaw’s Pygmalion through the lens of contemporary Russian theater and is brought to life by scriptwriter Ilya Makarov.
Dyuzhev commented on the thematic center of the show, noting that wealth does not guarantee happiness and that true joy lies beyond money’s reach. He explained that the piece pursues a deeper understanding of love and personal transformation, emphasizing a complete evolution of his character from a wanderer to a refined gentleman—a transformation he regards as every actor’s aspiration.
The narrative unfolds in a London mansion, where a polished aristocrat, portrayed by Tarkhanova, invites a homeless man, embodied by Dyuzhev, into her home and proposes he act as her husband for a hefty fee of 500,000 pounds. While the stage action centers on two performers within a single room, the arc of the story unfolds with the breadth and energy of a much larger spectacle, driven by dialogue, tension, and the implied social stakes of the arrangement.
Tarkhanova spoke about the new collaboration, describing Holidays for Valentine as her first theatrical project with Astrakhan and her first on-stage pairing with Dyuzhev. She acknowledged the challenges of delivering a two-actor performance, yet stressed that her experience has prepared her for such intimate drama. She reflected on revisiting dramatic roles on stage and rediscovering impulses that once characterized her early work in Satyricon, underscoring the spontaneity and artistry that the production seeks to evoke.
In the broader arc of the production, the performers explore themes of identity, social class, and the elusive nature of happiness. The narrative suggests that external circumstances, including status and wealth, can obscure genuine contentment if personal growth and authentic relationships are left unaddressed. The premiere has drawn attention for its brisk pacing, witty exchanges, and the tension that emerges as the flawed premise of the relationship unfolds into moments of vulnerability and insight. Audience members are invited to witness a journey where appearances are reexamined, and the line between performance and reality becomes a focal point of the experience.
Historically, the collaboration marks a significant moment in both performers’ stages careers, highlighting their willingness to push envelopes and explore complex emotional terrains. The production’s reinterpretation of a classic tale aligns with contemporary theatre trends that prioritize character-driven storytelling and social commentary. Observers note that the piece uses a compact set-up to probe larger questions about money, power, and the human longing for connection, all while maintaining a sharp theatrical energy that keeps viewers engaged from start to finish.
As the curtain falls, the actors’ performances invite reflections on aspiration, reform, and the everyday choices that shape one’s destiny. The response from audiences and critics alike suggests that Holidays for Valentine succeeds in offering both entertainment and a thoughtful examination of how personal transformations can redefine what it means to be happy. The production leaves space for contemplation about whether love, in its most sincere form, can flourish outside the bounds of wealth and social expectation, or if the pursuit of authenticity itself is the true fulfillment of any dream. (Source: Moscow City Theatre press materials)