The Moscow Art Theatre bearing the name of a notable founder saw a sudden change in its public program after a high-profile decision by its director. Vladimir Kekhman, who has been at the helm of the institution, canceled a planned performance featuring the singer Philip Kirkorov at a special event arranged for the venue. The cancellation was reported by Ksenia Sobchak through her Telegram channel, bringing a flurry of discussion about art, sponsorship, and control over a city’s cultural calendar.
According to Sobchak, the event was expected to be backed by a large corporate presence that would contribute significant funds. She claimed that in addition to the sponsorship money, Kekhman charged a separate five million for obligatory catering, a cost that reportedly weighed heavily on the organizers and participants alike. The reporter indicated that the director personally refused to allow the corporate gathering to proceed with Kirkorov as the featured guest, referencing a call attributed to the Presidential administration as the motive behind the decision. In conversations with his close friends, Kekhman described his own action as a form of self-censorship, suggesting a desire to avoid controversy in a sensitive political climate.
A few days later, on December 20, the Mutabor club hosted a closed party organized by blogger Nastya Ivleeva. The dress code required attendees to arrive in minimal attire. Among the guests were Ksenia Sobchak, Olga Orlova, Philip Kirkorov, the group Glukoza, Lolita Milyavskaya, Oksana Samoilova, the rapper Vacio, and Dzhigan. Roskomnadzor later announced that certain photo and video materials from the event contained signs that were interpreted as LGBT propaganda by some observers, a claim that intersected with broader regulatory and societal tensions in the country about expression and media portrayal.
On December 23, Mash Telegram channel reported that Vitaly Borodin, a social activist, proposed awarding Kirkorov the title of People’s Artist of Russia in recognition of his participation in the Ivleeva event. The development was noted alongside recent public statements where Kirkorov had been visible in support of Ivleeva’s party, including remarks made in response to a media appearance by Dmitry Peskov. The report implied that the singer had attended the gathering in exchange for a promised outcome. The episode highlighted ongoing debates about the intersection of celebrity influence, state expectations, and the politics of cultural events in Russia.
In a related thread, public figure Shukshina had previously floated the idea of revoking certain parental rights attributed to Kirkorov in connection with his involvement in the party, a suggestion that added another layer of controversy to the ongoing narrative surrounding the star and the event. The sequence of events illustrates how a single artistic engagement can become a focal point for broader conversations about power, censorship, and public accountability within Russia’s cultural sphere.