In a recent interview, the veteran actress Liya Akhedzhakova addressed rumors about the Sovremennik Theater’s repertoire. She clarified that, contrary to speculative reports, the theater still holds two of her performances in its current program. This clarification came as part of a broader discussion about the company’s season and the roles she continues to inhabit on stage. By emphasizing the continued presence of her work within the theater, Akhedzhakova dispelled the notion that the productions featuring her had been quietly withdrawn from the repertoire, underscoring a sustained commitment to both her art and the company’s audience.
According to Akhedzhakova, she had secured the Sovremennik repertoire for October and found that, while she does have performances on the schedule, they are limited in number. She candidly noted that Steep Route, a production associated with her, has not been performed for some time. The cast for that play, she explained, would need to be refreshed, a process that presents significant practical challenges. The remark highlighted not only the realities of staging adaptations but also the careful planning required to keep a show vibrant while meeting artistic standards and logistical constraints. In her view, keeping a production alive depends on more than memory and legacy; it requires a new ensemble capable of delivering the same energy and a director willing to navigate the complexities of casting and timing.
Akhedzhakova added that other performances featuring her remain active, illustrating a broader pattern of continuity beyond Steep Route. She cited the provocative piece First Bread, which has drawn attention for its bold themes and the involvement of seasoned performers who conserved its dramatic edge. She also mentioned Gin Game and The Tale of the Last Angel, two titles staged in collaboration with the Theater of Nations, as examples of ongoing projects that continue to reach audiences. In expressing hope for the longevity of the productions she has contributed to, Akhedzhakova affirmed a belief in the value of keeping these works accessible to theatergoers, suggesting that the life of a performance can extend well beyond a single season through thoughtful stewardship and audience resonance.
There was also a note about international prospects, as Akhedzhakova previously contemplated traveling to Israel, signaling moments when personal plans intersect with professional duties and artistic commitments. This context serves to remind readers that a performer’s path often winds through both domestic stages and international opportunities, with choices driven by a combination of creative aspiration and practical considerations regarding tours, collaborations, and cultural exchange. The actress’s remarks convey a sense of continuity and intention, portraying a career that remains deeply rooted in the repertory she helped shape while remaining adaptable to evolving theatrical landscapes and audience expectations.