The newly appointed artistic director of the Roman Viktyuk Theater, Konstantin Bogomolov, spoke about the future trajectory of the cultural institution. The remarks were reported by TASS, and they shed light on his initial vision for the theater’s direction and the kind of artistic environment he intends to cultivate. Bogomolov’s statements reflect a thoughtful approach to leadership and a respect for the theater’s established legacy while charting a contemporary course for its productions and audience engagement.
When asked about the possibility of merging the Roman Viktyuk Theater with another company, Bogomolov answered in the negative. He emphasized that the two theaters operate as distinct entities with unique histories, audiences, and artistic goals. He noted that while collaboration can be valuable, a merger would blur the identity of each venue, potentially diluting the strengths that draw patrons to both spaces. His stance underscored a commitment to preserving the separate character and mission of the Viktyuk Theater even as it evolves under new leadership.
“This theatre and the venue on Bronnaya are not interchangeable. They each have their own voice and cadence, which should not be duplicated or mirrored,” Bogomolov remarked. He highlighted that the same administrative team overseeing Malaya Bronnaya is also responsible for the Viktyuk space, a fact he described as both a challenge and an acknowledgment from the city of the organization’s proven success in managing complex theater projects. The arrangement, he suggested, offers a tested framework for operational efficiency while inviting fresh artistic risk within a trusted governance model.
According to Bogomolov, changes at the Roman Viktyuk Theater will focus on sharpening the theater’s workflow, elevating rehearsal processes, and enhancing the overall experience for audiences. He spoke about optimizing programming cycles, expanding opportunities for emerging voices, and ensuring a steady rhythm of productions that balance bold, contemporary work with the theater’s enduring patrimony. The goal, he explained, is to create a dynamic, resilient institution that remains relevant in a changing cultural landscape while honoring its storied past.
As of June 7, Bogomolov continues to fulfill his duties as artistic director at the Bronnaya Theatre, maintaining a dual leadership role that reflects a broader strategic vision for the company’s cultural footprint. In his conversations with collaborators and critics, he has articulated a belief in the power of cross-pollination between venues, paired with a strict respect for the distinctive identities each space possesses. His ongoing work at Bronnaya is presented as a living example of how one artist can steward multiple stages without compromising the integrity of either space.
Recent leadership changes at the theater scene also saw Igor Berlin stepping down from his role as head of the Theatre of Satire. Berlin’s departure marks another moment of transition in a bustling cultural ecosystem where institutions frequently recalibrate their artistic priorities and administrative structures to respond to contemporary tastes and funding realities. The shifting leadership across these organizations signals a broader trend toward strategic planning aimed at sustaining artistic vitality and audience engagement in a competitive cultural market. Bogomolov’s remarks provide a window into how such leadership transitions could influence programming, collaborations, and the long-term visibility of the Viktyuk Theater within Moscow’s vibrant theater district and beyond.”