Canadian and American audiences observe shifts in theatrical leadership
In a candid speech, actress Daria Poverennova pointed to a defining challenge facing the theater world: a real shortage of skilled leaders who can step into top roles. The sense among insiders is clear—a leadership gap sits at the top of many stage companies, affecting strategic direction and the vision that guides productions, seasons, and institutional legacy.
She elaborated that the seats at the podiums of artistic direction and chief directorship appear almost vacant. The personalities who once drove bold projects and shaped contemporary repertoires seem scattered across the scene, their voices dispersed to various venues and initiatives. This fragmentation has heightened concerns about continuity and mentorship, suggesting a need for fresh leaders who can carry the flame of artistic ambition into the next era.
Poverennova added that there are indeed deserving individuals who could rise to artistic leadership, yet they have not yet gained the attention or backing of those in senior positions. Her message to festival programmers, theatre boards, and touring ensembles was to look beyond the obvious candidates and recognize overlooked talents who could bring new energy, different perspectives, and long-term sustainability to major theaters.
On June 7, three capital-city theaters announced new leadership appointments. Vladimir Mashkov became the artistic director at Sovremennik, Evgeny Gerasimov assumed the role at the Moscow Academic Theater of Satire, and Konstantin Bogomolov took charge of the Roman Viktyuk Theater. The announcements signaled a broader turnover in artistic governance and highlighted a moment when experienced actors and directors increasingly step into leadership to shape repertoires, outreach, and education programs for contemporary audiences.
Despite the changes, each figure retained a dual role in their existing commitments: Mashkov continued guiding the Oleg Tabakov Theatre in Moscow, Gerasimov remained at Malaya Ordynka Theatre, and Bogomolov continued overseeing Malaya Bronnaya Theatre. This arrangement underscores a common practice in major theatres where new artistic leadership exists alongside established duties, ensuring stability while new creative directions are tested and developed through ongoing collaboration and shared responsibilities.
Earlier remarks from the same circle touched on the potential for strategic mergers and collaborations, such as a possible alliance with the Theatre of Satire at Malaya Ordynka. Proposals of this nature reflect a broader trend toward consolidating resources, talent pools, and programming strengths to weather funding pressures and audience needs, while preserving the distinct voices that define each institution.”