— Lena from “Sisters” doesn’t carry the lead, yet her presence shapes the entire arc. In the new season, what signals her pivotal influence becomes clear through the evolving dynamics, the choices she makes, and the way she steadies her sisters during moments of pressure.
— Lena and her sisters step into the spotlight as the season’s core. They anchor the plot and drive momentum, with Lena serving as a steady fulcrum around which the story rotates.
— Where does the emphasis pivot next?
— By the third season, every character comes into focus. The heroines reveal their true colors, and the journey shifts into a road-movie cadence. The sisters leave the familiar setting of the car dealership behind, heralding a thrilling trek ahead. The acting feels sharper, with a bolder sense of humor, and Lena experiences a romantic arc as well.
— Who captures Lena’s heart?
— When the writers discussed a sequel to “Sisters,” they teased that Lena would connect with a hero. Initial doubts faded after the team suggested readers would understand the setup. The reveal lands in a playful, endearing way, inviting the audience to share in the moment.
— Why do fans feel such a strong connection to Lena? Critics consistently praise the portrayal.
— The warmth of Lena’s sincerity resonates. She often misreads situations, faces setbacks, or feels stuck, yet she remains determined to help others. She hosts sessions like “How to Make a Boyfriend” and “How to Find a Job,” stepping into the role of a self-made mentor, the proverbial shoemaker who keeps his own boots in check. It’s a funny irony that Lena has no personal life or job to boast about, yet she confidently guides others toward both. In preparation for the season, the team explored nearly ten life-coaching approaches, studied their methods, and borrowed a few tricks…
— How should the third season of “Sisters” be described?
— It’s funny, kind, and sincere. It centers on friendship among four young women, genuine emotions, and a true sense of love. Money or personal gain aren’t the focus; authenticity is. The cast carried a luminous energy, communicating with surprising speed. Some on-set relationships actually aided the production. The team includes writers of different genders, and their grasp of the characters’ speech and inner world shines through. The psychological layer remains especially meaningful.
— Do bonds like these sustain a TV series over time?
— Dynamics shift, and multiple stories flourish about the women involved. Yet there isn’t any outfit or fame rivalry; rather, it’s about friendship and affection. Performances born from warmth and a strong sense of camaraderie tend to endure longer than others, in the writer’s view.
— You trained at the Schukin Theater Institute and later at the Lee Strasberg Theatre and Film Institute in New York. How do Russian and American acting approaches compare?
— Strangely, Strasberg’s program still leans on a framework rooted in Stanislavski and Chekhov. Schukin emphasizes a more theatrical foundation. The education is strong because it starts from original sources. What stood out at Strasberg was its film-focused approach, including practical exercises like auditioning under pressure. Performing before the camera twice a week, tackling roles with tight preparation, and adapting quickly in front of the lens—this blend of stage rigor and on-set experience proved invaluable for the craft as a whole.
— Did a Russian background affect how you were received? Was there respect for homeland education?
— Honestly, not in a major way. There was interest in the Vakhtangov lineage because the Schukin school is connected to it, but a global student body means there’s no strict separation. Talent and clear motivation tend to speak louder than origin.
— You also studied at the Financial Academy. What was your field there?
— An economist by training, specializing in International Economics. The diploma carried honors, and internships followed after graduation.
— Has that background helped in life?
— The key lesson wasn’t a specific job but a way of learning and adapting quickly. In a fast-changing world, the ability to pivot to new rules matters most. The honors degree and the network of friends from that time remain a source of pride. It felt like more than a college; it was a school of life that shaped a flexible mindset useful today.
— Has theatre grown as a bigger part of the work recently?
— Yes. Debuting at the Malaya Ordynka Theatre in September 2022 with the play “Gentle Night” marked a turning point. In April, a new take on “Tender is the Night” premiered there, with a different cast and design, adding dancing and singing. Collaborating with Ivan Stebunov and Lena Zakharova created a compelling partnership appreciated by colleagues, signaling the show’s vitality.
— Why isn’t the new version of “Tender is the Night” identical to the old one?
— It’s a fresh production with new visuals, costumes, and performers. The addition of dances and songs keeps audiences engaged while staying faithful to Fitzgerald’s core story. It’s crafted to captivate and entertain, especially during challenging times when people seek an escape. The performances stay under two hours, which suits today’s audience well.
— Is musical theatre a tough fit for you?
— It brings certain challenges due to music and choreography. Trained as a dramatic actor, musicals aren’t the default, but Malaya Ordynka offers musical pieces like “Mayakovsky” and “Amphibian Man” alongside the current production. The aim is to deliver a strong, memorable experience with a clear narrative, striking visuals, and performers who pull the audience into the story. The modern viewer expects dynamic storytelling, impressive scenery, and a bit of surprise in every show. So the production blends dance and song with a coherent plot that remains true to Fitzgerald’s world. The running time stays concise and impactful, leaving the audience feeling lighter as they step out.
— Was participation in Dancing with the Stars helpful on stage?
— It was intense and enjoyable. Dancing the tango in a production scene alongside Ivan and Denis Tagintsev sharpened timing. The rehearsal process turned the choreography into second nature. It felt like a win, even without trophies. That experience genuinely enriched the performance and rehearsal approach, a rare gift to carry into theatre work.
— Do actresses sometimes face typecasting into lighter, comedic roles because of appearance?
— It happens. Stereotypes exist, but the theatre has offered opportunities to explore a wide spectrum of characters. People who see me in Wolves and Sheep might be surprised at how well that image can align with other roles. I continue seeking directors who see me in different lights, perhaps portraying Lilya Brik or Anna Karenina on screen. A major project about the Great Patriotic War is in the works, presenting a worthwhile challenge.
— Your daughter Anya is pursuing figure skating. Would you support a move toward a major sport?
— I’ll support it as long as it remains a hobby. If it becomes a rigorous daily commitment, it will reveal itself. Sports build character, and many successful people started with sports. If Anya wants it and enjoys it, I’ll back her fully.
— What place does sport hold in life?
— It’s vital. Even if the club isn’t always accessible, the daily routine starts with stretching. The energy from the stage and the dance pieces translates into strong cardio. When possible, a quick skate or a tennis game with Anya follows.
— Many stars launch ventures at the peak of their careers. Have thoughts turned toward entrepreneurship?
— Possibilities are on the table. Running a business would be exciting, but for now energy goes toward creativity and supporting a daughter. The goal is to find a venture that allows a unique contribution.
— In an earlier interview you described feeling like a Siberian, carrying a stubborn, resilient character despite leaving Omsk early. What does that Siberian spirit mean to you?
— It means perseverance. When plans stumble, one keeps moving and adapts. Blaming others doesn’t help. The drive to improvise and press on defines it. In recent years, many collaborators with Siberian roots have joined this circle, including people who studied in Novosibirsk. It’s fascinating how regional roots can connect and reinforce the same tenacious spirit across that part of the country.