Liya Akhedzhakova, a renowned People’s Artist of Russia, reportedly submitted her resignation from the Sovremennik Theatre on March 10, choosing to shift her focus toward touring engagements. The actor indicated a plan to participate in several forthcoming tours and indicated no immediate departure from Russia. This update was reported by Novaya Gazeta.
In mid-March, Akhedzhakova performed in Cyprus in a production inspired by Lyudmila Ulitskaya’s My Grandson Benjamin, delivering a performance to a full audience. A schedule note from the fall of 2022 mentioned a planned St. Petersburg run that did not proceed, as per the reporting outlet.
Sovremennik Theatre did not issue a formal comment on Akhedzhakova’s statements. Elena Volkova, the theatre’s press secretary, said she did not have a comment to offer and that she was not authorized to speak on the matter (Novaya Gazeta, cited).
When questioned by MK about the voluntary nature of the resignation, the theatre’s leadership said the actress remained part of the company and received compensation according to a fixed roster. They described her as an expressive artist who creates a lot of material, but emphasized that no one dismissed her (the theatre management).
“I didn’t have time to say goodbye to my stage”
On March 9, the Free Space project of Novaya Gazeta published an open letter from Akhedzhakova expressing gratitude to the audience and bidding farewell to Sovremennik’s stage. The actress noted that Yuri Kravets, the theatre’s new head, had conveyed that the Moscow Department of Culture supported removing her from the repertoire, amid a wave of feedback regarding her political stance.
Akhedzhakova remarked on what she described as a public backlash, mentioning that a “network court” and editor-in-chief Dmitry Muratov of Novaya Gazeta had raised concerns about her nationalist sentiments, and that there were calls to cancel performances featuring her. Sovremennik canceled The Gin Game on February 13, and when queried about future showings, a theatre secretary stated the production would not be available again (Novaya Gazeta, socialbites.ca).
Earlier, performances of My Grandson Benjamin in St. Petersburg were canceled with the artist participating. Akhedzhakova stated that theatres across Russia had declined to host the production, despite international premieres in the United States, Germany, Israel, and Belarus. Earlier, Sovremennik had produced the play First Bread, with Akhedzhakova in a leading role. In her letter, she expressed deep appreciation for the stage, noting it gave her the chance to confess, to speak her heart, and to celebrate audiences she admires and respects.
In February, Akhedzhakova spoke about receiving strong audience support after performances that underscored her civic stance. The public’s appreciation reinforced her resolve and connection to the work she loved.
Akhedzhakova’s theatre career
At 84, Liya Akhedzhakova has been a staple of Sovremennik since 1977, appearing in classic productions such as From Lopatin’s Notes, Forever Alive, Hurry to Do Good, and Steep Path. The company’s repertoire had included The Gin Game before its cancellation in February. She has been outspoken on political matters related to Russia’s actions abroad and associated troop activity in Ukraine, which affected her professional engagements. Reports in mid-2022 about a broader pause in her involvement at Sovremennik were later clarified by the theatre, with the initial cancellations of productions occurring in the autumn period (press coverage from that time).
Director Kirill Serebrennikov supported Akhedzhakova through a voluntary solidarity campaign that collected more than 15,000 messages of support. Chulpan Khamatova, a People’s Artist of Russia and former deputy artistic director at Sovremennik, also released a video endorsing Akhedzhakova. Khamatova highlighted Akhedzhakova as a defining figure for Sovremennik and recalled her role in attracting others to the theatre. She described the atmosphere around the theatre as fraught with fear of denunciations and angry letters, which contributed to the decision to cancel The Gin Game, noting that the affection for Akhedzhakova traveled across the country despite the harsh criticism that accompanied the controversy.
Throughout this period, Akhedzhakova’s supporters argued that her devotion to her craft and her civic voice were inseparable from the theatre’s identity and mission. The broader response from colleagues and fans underscored the lasting impact of her work and the cultural dialogue she helped sustain.