In 2024, the Armen Dzhigarkhanyan Progress Stage theater in Moscow is set to undergo a major renovation. The project was included in the renovation plan after inspections confirmed the building’s readiness for upgrade. This update was discussed by the theater’s artistic director, Sergei Gazarov, in an interview with Moscow 24, highlighting the ambition behind the refreshed stage space.
Gazarov noted a new artistic direction, created in collaboration with performer Evgeniy Mitta. He expressed confidence that the refreshed venue would become one of the city’s most impressive theatre spaces, a place that could redefine audience experience and stagecraft in Moscow. Mitta’s involvement signals a blend of contemporary performance techniques with traditional stagecraft, aiming to elevate both the visual and narrative impact of productions staged on the Progress Stage.
Since taking the helm of artistic leadership in 2020, Gazarov first led the Moscow Drama Theater named after Armen Dzhigarkhanyan. He subsequently moved to the Moscow Academic Satire Theatre, where the troupe later referred to the period of his leadership as the “Progressive Phase of Armen Dzhigarkhanyan.” The Satire Theatre is described as comprising four distinct venues: the Main Stage, the Attic, the Armen Dzhigarkhanyan’s Progress Stage, and the Children’s Stage. Each space has its own curatorial concept and repertoire strategy, reflecting a broader vision for the theater as a whole and its role in the city’s cultural life.
In related news, the Telegram channel Mash reported in mid-January that an incident occurred during the staging of the opera Lohengrin at the Bolshoi Theatre. A worker sustained a closed head injury and required hospitalization. The report highlighted concerns about stage safety and the well-being of theater personnel amid high-profile productions in the capital’s premiere houses. This incident underscores the broader context in which Moscow’s performing arts venues operate, balancing ambitious programming with rigorous safety standards.
Earlier coverage also noted discussions about the theater’s legacy, including conversations about placing a public name on the venue in honor of Vladimir Mashkov. Such debate reflects the long-standing tradition in Moscow of linking prominent artists with major cultural institutions, though details of any formal naming decision were not finalized at the time of the reports. The possible rebranding or naming considerations form part of a wider discourse about how Moscow’s theater landscape honors artistic contributions while expanding its audience reach and technical capabilities for contemporary stagecraft.