Evgenia Iskandarova, a comic artist, described a controversial moment in a television interview after performing with the KVN team inside the men’s penal colony No. 5 in Kemerovo. The appearance drew unusual attention from the inmates, who reportedly called for her to stay on stage for a solo act, turning the moment into a small, complicated event in her career story.
Iskandarova recounted that after the team finished their routine, the inmates began chanting her name in a show of interest that, in their view, justified a solo performance. When she stepped out alone, she read a poem to the audience. The piece spoke in a light, satirical vein about a pair of tulips, two hooligans, two policemen, and a book used to prevent bruises, a sequence she recalled as part of the set that evening.
She noted that the reception from the public was not favorable. The comedian explained that while the prisoners understood the joke’s gist, they did not find it funny, and the mood was markedly serious. The experience led to a shift in the troupe’s engagement with the colony, with the organizers deciding not to invite the group back for future performances.
Beyond this episode, Iskandarova has built a varied performing resume. She performed with the KVN team Kubasik and later joined the cast of the program Comedian Güldür in 2014. In 2015 she appeared in a small role in the television series Interns. Her career includes appearances on Comedy Battle and Comedy Woman, expanding her presence in standup and sketch formats across major productions.
Her work also includes appearances on shows such as Complete Blackout, Fort Boyard Return, New Stars in Africa and Island of Heroes. These projects illustrate a trajectory that blends traditional sketch comedy with competitive formats and popular variety programming, contributing to a distinctive voice within the broader comedy landscape.
There have been other industry updates around the time that discussed how sanctions and external pressures were affecting various entertainment businesses, highlighting the broader context in which comedians and performers operate. The discussion reflects a landscape in which public appearances can intersect with political and economic factors, shaping opportunities and audience reception alike.