The Lenkom Theatre’s press service has responded to recent remarks by actor Stanislav Sadalsky, who claimed that actress Tatyana Vasilyeva “has been idle at Lenkom for a long period.”
Vasilyeva, a People’s Artist of Russia long associated with the theater’s social circles and often at the center of tabloid chatter, has been the subject of another round of speculation initiated by Sadalsky. In his remarks, which were echoed by some media outlets, he suggested that Vasilyeva’s career at Lenkom had stalled for an extended stretch, a claim that drew a firm rebuke from the theatre administration.
Representatives of the cultural institution stressed that Vasilyeva did not hold a current engagement with Lenkom as a resident artist. They noted that she has recently been invited to participate in several performances and is actively preparing for upcoming roles. Specifically, she is cast as the mother of Ivan Balakirev in the production The Jester Balakirev, and as Fekla Ivanovna in Marriage. Vasilyeva herself commented on the matter, addressing the remarks publicly.
“I will not displace anyone, certainly not my trusted colleague Inna Churikova. I hope to claim my own roles,” Vasilyeva stated. “On October 10, I will perform in Marriage for the first time.”
The discussion followed Sadalsky’s reiteration of remarks attributed to Lenkom’s general director regarding Varshaver’s suggestion to consider Vasilyeva during the era of Mark Zakharov. Varshaver reportedly indicated that Inna Churikova objected to the proposal, which meant Vasilyeva had not yet received an invitation to perform at the theatre.
Sadalsky further argued that, as of late June this year, the premiere with Vasilyeva was anticipated, and questions lingered about her actual participation, with him accusing the artist of remaining inactive while others around Lenkom moved forward. The exchange reflected broader tensions between theatre insiders and the public narrative surrounding casting and availability.
Previously, Fadeev, a producer, had stated that he did not respect the singer Linda, whom he had worked with, illustrating how behind-the-scenes dynamics can become public fodder, even as theatre plans continue to evolve.
In summary, Lenkom’s administration has clarified Vasilyeva’s status, emphasizing active engagement in forthcoming productions and dismissing claims of prolonged unemployment at the theatre. The actress herself has reaffirmed her commitment to her craft, signaling ongoing preparation for multiple roles and a continues involvement in the theatre’s creative projects. The situation underscores the ongoing dialogue between media coverage, artistic opportunities, and the expectations of theatre audiences in Russia’s cultural capital.