Vladimir Mashkov, honored as People’s Artist of Russia, has voiced his belief that the cases involving Galina Volchek and Oleg Efremov should move forward, a stance he shared during his remarks about taking the helm at the Sovremennik Theatre. Mashkov, speaking to TASS upon the announcement of his appointment, underscored the enduring legacy of Volchek and Efremov and suggested that their contributions deserve continued recognition through ongoing stewardship of the institution they helped build.
In his remarks, Mashkov emphasized the deep reservoirs of strength and affection that Volchek and Efremov poured into the theater. He highlighted how their work shaped the theatrical climate and fostered a thriving community of artists who found their artistic home within the walls of Sovremennik. The actor and former artistic director noted that the theater not only benefited from their leadership but also served as a living workshop, where touring master classes and long discussions about the craft could nourish students and colleagues for years to come. Mashkov expressed the belief that Volchek would forever remain a guiding presence in his own life, even if circumstances lead him to new duties beyond Sovremennik.
On June 7, Mashkov officially assumed his role as the director of the Sovremennik Theatre. The same day brought parallel announcements across Moscow’s cultural scene: Evgeny Gerasimov was named the artistic director of the Moscow Academic Theater of Satire, and Konstantin Bogomolov took on the role of artistic director at the Roman Viktyuk Theatre. These leadership changes signaled a broader reshaping of Moscow’s theater landscape, with several prominent directors taking on elevated responsibilities at storied venues.
Official statements from the Moscow mayor’s press service confirmed that the three new leaders would continue to fulfill their existing responsibilities while embracing their new responsibilities at their respective institutions. Mashkov would maintain his position as artistic director of the Oleg Tabakov Theatre in Moscow, a post he had previously held alongside his other commitments. Gerasimov would continue to oversee the Malaya Ordynka Theatre in a capacity similar to his previous role, and Bogomolov would keep steering the artistic direction at the Malaya Bronnaya Theatre, ensuring continuity in programming while integrating fresh perspectives.
The announcements reflect a period of renewed energy within Moscow’s theater community, as experienced artists step into leadership positions that allow them to influence repertoire, mentorship, and the cultivation of emerging talent. While each leader brings a distinct vision, the underlying thread remains a commitment to sustaining high artistic standards, fostering collaboration, and maintaining the theaters as vibrant spaces where audiences connect with contemporary interpretations of classic works.
In related cultural news, industry observers have noted ongoing discussions about international participation in major festival circuits and interregional collaborations. While details vary, the consensus is that Moscow’s theaters are increasingly engaging with a broader network of artists, producers, and institutions, creating opportunities for cross-cultural exchange and higher-profile productions that resonate with audiences both within Russia and abroad. These conversations underscore a shared objective: to keep Moscow’s theatrical tradition dynamic while embracing new voices and formats that reflect a changing artistic landscape.