John Freedman

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THIS PAGE LISTS ARTICLES AND REVIEWS BY AUTHORS OTHER THAN I THAT CAN BE ACCESSED FREELY ON THE WEB. FOR MY WRITINGS ON THESE AND OTHER TOPICS, SEARCH THE BIBLIOGRAPHY PAGE ON THIS SITE.

I DO NOT, CANNOT LIST HERE ALL THE ARTICLES THAT APPEARED OVER A 30-YEAR PERIOD IN THE JOURNAL THAT WAS KNOWN AS SLAVIC AND EAST-EUROPEAN PERFORMANCE. BUT IF YOU'RE DOING RESEARCH ON THE TOPIC OF RUSSIAN DRAMA AND THEATER OF THE LAST 100 OR SO YEARS, YOU SHOULD GO TO THIS SITE THAT NOW MAKES AVAILABLE ONLINE (ALMOST) EVERY ONE OF THE JOURNAL'S ISSUES.

Alexander Bakshi

Go here to see excerpts of an interview with Alexander Bakshi, translated into English from Russian, about his Requiem for Anna Politkovskaya, created with puppeteer Amy Trompetter in 2007. You'll need to drop down the page a bit to find the text - where there are also several pictures and a 7 1/2 minute video.

Russian composer Alexander Bakshi and Polish director Jaroslaw Fret discuss the place of music in contemporary theater during a public meeting at Double Edge Theater in Ashfield, MA. Go here for part one; go here for part two. 

Nina Belenitskaya

Ilaria Parogni interviews Nina Belenitskaya and Yevgeny Kazachkov about their plays The Sounds of Silence and Start-Up, respectively, to be presented in London at Theatre503.

Rodion BELETSKY


Robert Kerr interviews this Russian playwright about his work for a program held at Lark play development center in NY, Nov. 2015. 

oleg bogaev

Go here to read this interview with Yekaterinburg playwright Oleg Bogaev, conducted from Chicago by internet in 2009. 

Lennie Varvarides reviews Noah Birksted-Breen's production of Oleg Bogaev's Russian National Mail for the Sputnik Theatre, London, 2005. 

Michael Billington reviews Noah Birksted-Breen's production of Oleg Bogaev's Russian National Mail for the Sputnik Theatre, London, 2005.

Martina Anzinger writes a brief review of Noah Birksted-Breen's production of Oleg Bogaev's Russian National Mail for the Sputnik Theatre, London, 2005.

Claire Allfree writes a brief review of Noah Birksted-Breen's production of Oleg Bogaev's Russian National Mail for the Sputnik Theatre, London, 2005. 

Alice Jones reviews Noah Birksted-Breen's production of Oleg Bogaev's Russian National Mail for the Sputnik Theatre, London, 2005.

Alexandra Chichkanova

Ben Sargent interviews Nicole Kontolefa about her production of Alexandra Chichkanova's I Am Me.

Nikolai Kolyada writes a remembrance of Alexandra Chichkanova to accompany Nicole Kontolefa's production of I Am Me in New York, 2013.

Raphael Schklowsky writes a background piece on Nicole Kontolefa's production/performance of Alexandra Chichkanova's I Am Me in the New York area in fall 2014. 

lev dodin and the Maly drama theater

Wayne Lawson, in Vanity Fair, writes about Lev Dodin's production of The Cherry Orchard for the Maly Drama Theater, at BAM, 2016.

Christopher Wallenberg writes in the Boston Globe about Lev Dodin's production of The Cherry Orchard for the Maly Drama Theater. 

Carol Rocamora interviews Lev Dodin prior to his tour to New York with Anton Chekhov's The Cherry Orchard, in American Theater, 2016.

Andrew Dickson writes a feature about director Lev Dodin in the Guardian in 2009.

Davi Napoleon interviews Lev Dodin prior to a tour to the United States in 2010.

Chris Jones blogs about Lev Dodin's production of Anton Chekhov's Uncle Vanya, performing in tour in Ann Arbor, MI, in 2010.

Charles Isherwood reviews Lev Dodin's production of Anton Chekhov's Uncle Vanya in New York in 2010.

Sarah Green reviews Lev Dodin's dramatization of Vasily Grossman's novel Life and Fate for the Maly Drama Theater during a tour of Australia in 2010. 

Mel Gussow reviews Lev Dodin's production of Alexander Galin's Stars in the Morning Sky during a tour of the Maly Drama Theater to New York in 1988.

Charlotte Loveridg reviews Lev Dodin's production of Chekhov's Uncle Vanya during a tour of the Maly Drama Theater to London.

Michael Handelzalts writes about Lev Dodin's production of Chekhov's Three Sisters for the Maly Drama Theater.

Natalia Kolosova interviews Lev Dodin.

Dominic Cavendish previews a tour of Lev Dodin and the Maly Drama Theater to London in 2005.

Paul Taylor previews a tour of Lev Dodin and the Maly Drama Theater to London in 2005. 

Lyn Gardner reviews Lev Dodin's production of Shakespeare's King Lear in London, 2006.

Cornelia Bessie reminisces about her encounters over the years with Lev Dodin and the Maly Drama Theater. 

Maria Shevtsova's book on Lev Dodin and the Maly Drama Theater - Dodin and the Maly Drama Theatre: Process to Performance - cannot be accessed online, but it can be ordered here

vyacheslav and mikhail durnenkov

This preview by Jasper Rees in the Sunday Times of the Durnenkov brothers' The Drunks at the Royal Shakespeare Company in 2009 includes snippets of an interview with the two writers.

Go here to read a review by Steve Newman of Anthony Neilson's production of The Drunks by the Durnenkov brothers at the RSC in 2009.

Go here to read a Live Journal blog about Anthony Neilson's production of The Drunks by the Durnenkov brothers at the RSC in 2009.

Henry Hitchings reviews Anthony Neilson's production of The Drunks by the Durnenkov brothers at the RSC in 2009 (and Natalya Vorozhbit's The Grain Store).

Kate Bassett reviews Anthony Neilson's production of The Drunks by the Durnenkov brothers at the RSC in 2009 (and Natalya Vorozhbit's The Grain Store).

Benedick Gibson reviews Laurence Cook's production of the Durnenkov brothers' The Drunks at the Drama Barn, University of York, 2009.

Mary Brennan writes a blitz-review of Mikhail Durnenkov's The War Hasn't Started Yet, a short play written especially for Oran Mor in Glasgow, Scotland. May 2015.

Chris White reviews Michael Fentiman's production of Noah Birksted-Breen's translation of Mikhail Durnenkov's The War Has Not Started Yet at Theatre Royal, Plymouth, May 2016. 

nikolai erdman

Go here to read Jason Zinoman's review of Goodbye, Cruel World, a modern adaptation of Nikolai Erdman's The Suicide at the ArcLight Theater in NYC.

Vera Liber reviews Declan Donnellan's production of Nikolai Erdman's The Mandate at the National Theatre in London in 2005.

Information, reviews and photos of Jo German's production of Nikolai Erdman's The Suicide (translated by Peter Tegel) at the Bench Theatre in 1987.

Scott Mitchell reviews Goodbye, Cruel World, a modern adaptation of Nikolai Erdman's The Suicide at the ArcLight Theater in NYC.

Philip Fisher reviews Dying For It, Moira Buffini's modern adaptation of Nikolai Erdman's The Suicide at the Almeida Theatre in London.

Patrick Marmion, John Nathan and Adam Scott offer audio reviews of Declan Donnellan's production of Nikolai Erdman's The Mandate at the National Theatre in London in 2005.

Neil Dowden reviews Dying For It, Moira Buffini's modern adaptation of Nikolai Erdman's The Suicide at the Almeida Theatre in London.

Ksenia Barinova's Russian-language dissertation, "Nikolai Erdman's Plays in the Context of the Carnivalization of Soviet Drama of the 1920s" is available for inexpensive purchase at this site. IN RUSSIAN.

Maria Mironova's Russian-language dissertation, "Theater Criticism of the 1920's: The Reception of Nikolai Erdman's The Warrant and Mikhail Bulgakov's Days of the Turbins, is available for inexpensive purchase at this site. IN RUSSIAN.

pyotr fomenko and the Fomenko Workshop Theater

A brief bio of Russian theater director Pyotr Fomenko.

Go here to read an unsigned review of Pyotr Fomenko's production of Egyptian Nights for the Fomenko Workshop Theater, performing in New York. 

Neil Genzlinger briefly reviews Pyotr Fomenko's production of War and Peace: The Beginning of the Novel for the Fomenko Workshop Theater, performing in New York. 

Go here to read Sally McGrane's piece in the New York Times on the opening of the new Fomenko Workshop Theater  stages in Moscow in 2008. This is mostly about the architecture and the event of the opening, but also provides some information about the popular theater.

Voice of Russia reports on the death of Fomenko Aug. 9, 2012, and publishes a gallery consisting of 7 photos taken primarily late in his life.

Blogger A.O. (Arkady Ostrovsky) remembers the late Pyotr Fomenko in this piece on the site of the Economist.

Russia Beyond the Headlines reports on Fomenko's funeral.       

Free theater of minsk - please note that there are hundreds, if not thousands, of links to this theater on the net. Below i point out several key, substantial pieces about the theater's work. 

Elena Volkava writes a feature about the Free Theater for Waging Non Violence, May 27, 2015. 

Jessica Kasmer-Jacobs writes a review of Dangerous Acts Starring the Unstable Elements of Belarus, a documentary film about the Free Theater, in the Wall Street Journal, Sept. 2014. 

Go here to read Natalya Kolyada's (Natalia Koliada) testimony before the U.S. Senate Committee on Foreign Relations in January 2011. This is in regard to the treatment of the theater's employees and other dissidents in the crackdown that followed the presidential elections in Belarus in December 2010.

Ella Parry-Davies interviews Natalya Kolyada (Natalia Kaliada) in Exeunt. Topic of conversation: a production by Kolyada and Nikolai Khalezin of King Lear for the Free Theater of Belarus to be performed at the Globe Theatre in September 2013.

Alex Rodriguez writes a detailed feature on the Free Theater of Minsk in the early years, 2006.

Mark Ravenhill writes about the unique qualities of the Free Theater of Minsk in 2008. 

Anna Nemtsova interviews Nikolai Khalezin and Natalya Kolyada of the Free Theater of Minsk in Jan. 2011.

Go here to read an RFE/RL piece on the state of the Free Theater of Minsk in Jan. 2011 after the crackdown following the presidential election in Dec. 2010. This piece includes a video and other links.

Simon Lewis writes about the Free Theater of Minsk days after the crackdown following the presidential election in Dec. 2010.

David Williams writes about the Free Theater of Minsk in connection with performances in Australia in 2009.

Randy Gener writes about the Free Theater of Minsk for TCG.

Go here to see a small photo gallery of productions of the Free Theater of Minsk in Paris, 2007.

Larry Rohter writes about the Free Theater of Minsk at the time of the presidential election in Dec. 2010. The piece contains numerous links to background information and other pieces about the theater.

Go here to access a large collection of videos by and about the Free Theater of Minsk.

Go here to read a blog about Generation Jeans, Nikolai Khalezin's famous one-man show for the Free Theater of Minsk.

Alexander Osipovich writes about the Free Theater of Minsk in Moscow in 2006. This version of the article is posted on the theater's own website, which contains a wealth of information and links.

Ben Brantley reviews Zone of Silence by the Free Theater of Minsk, at La MaMa, 2011.

Reed Johnson of the Los Angeles Times previews Minsk, 2011. A Reply to Kathy Acker before a run of the show in Costa Mesa, CA, in January 2013.

Sam Wilson on BBC News Europe profiles Nikolai Khalezin's Free Theater of Minsk in June 2013.  

general on russian drama and theater

Verity Healey reports for HowlRound on a four-day conference on contemporary Russian theater and drama that was held in January 2016 at the Frontline Club in London. It included staged readings of plays by Yelena Isayeva, Yaroslava Pulinovich, Mikhail Kaluzhsky and Mikhail Durnenkov. 

Anna Aizman writes about conflict and repression in contemporary Russian theater and culture in general for NiteNEWS, April 2015.

Pavel Rudnev publishes "Let's Talk About Faith," a piece about political theater in Russia today for the nachtkritik.de website, July 2014. 

Julia Bumke writes about what the Gogol Center in Moscow might offer American theater practitioners on the TCG website in June 2014.

Noah Birksted-Breen writes a column about the soon-to-be-installed law against obscenities in Russian performing arts. 

Pavel Rudnev writes about the influence of the internet on theater discourse in Russia in the IATC webjournal, Feb., 2014. 

Performing Violence is a book by Birgit Beumers and Mark Lipovetsky that is not available for free, of course. But as the first book on contemporary Russian drama, it deserves mention here. It can be ordered from University of Chicago.

Moscow Theatres for Young People: A Cultural History of Ideological Coercion and Artisic Innovation, 1917-2000 is a book by Manon van de Water published by Palgrave Studies in Theatre and Performance History.

Graham Schmidt writes about his visit to Moscow in September 2012, including trips to Teatr.doc and the Lyubimovka festival that allowed him to encounter the work of Mikhail Ugarov, Yelena Gremina, Maksym Kurochkin, Alexander Arkhipov and many others. 

Rob Weinert-Kendt writes an overview of the 2012 Golden Mask/Russian Case festivals in Moscow for American Theatre. Features comments about Sasha Denisova and Yury Muravitsky's Light My Fire for Teatr.doc, Yury Butusov's The Seagull at the Satirikon, Yelena Gremina's Two in Your House and other shows. American Theatre (July/August 2012), 52-56. Text also available in the Documents section on this site.  

A brief feature on a Russian production playing in Edinburgh - Nostalgia for Reality (or, perhaps, Nostalgia for the Present), produced by SSSR Productions and directed by Alexei Rubinstein. 

Go here to read a review of Crush, a film consisting of several shorts directed by various Russian directors and scripted by such writers as Maksym Kurochkin, Ivan Ugarov, Ivan Vyrypaev and others.

Go here to read a piece about the controversial Russian TV-series School, directed by Valeria Gai-Germanika. It was scripted by many of the top new Russian playwrights, including Natalya Vorozhbit, Vyacheslav Durnenkov, Yury Klavdiev and others, although this piece does not discuss their contribution. Go here for part two of the article.  

Go here to read Marina Davydova's overview of contemporary Russian theater and drama.

Go here to read a piece by Natalya Antonova about perceptions of "art and dirty language" in new plays by Russian writers, including quotes from Maksym Kurochkin, Mikhail Ugarov, Marat Gatsalov and others. 

Go here to read a piece on the so-called "new Russian drama" phenomenon.

Go here to read Sally McGrane's piece in the New York Times on the opening of the new Fomenko Workshop stages in Moscow in 2008. This is mostly about the architecture and the event of the opening, but also provides some information about the popular theater.

Nina Karpova surveys contemporary Russian theater in the so-called provinces: "My Vast Country: Russia's Regional Theaters in Transition," Theater, Vol. 36, No. 1 (2006): 97-107.

Marina Dmitrievskaya surveys contemporary theater in St. Petersburg: "St. Petersburg's New Wave," Theater, Vol. 36, No. 1 (2006): 109-115.

Tom Sellar publishes a photo-gallery of productions by St. Petersburg's AKhE Theater: "AKHE Theater Portfolio,"  Theater, Vol. 36, No. 1 (2006): 116-129.

Tom Sellar and Yana Ross interview up-and-coming Russian directors Dmitry Chernyakov, Nina Chusova, Yelena Gremina, Mindaugas Karbauskis, Viktor Ryzhakov and Kirill Serebrennikov: "Art is Not for Fear: Russia's New Directors in Conversation," Theater, Vol. 36, No. 1 (2006): 131-149.

Go here to read a piece in the Washington Post about a theater refusing to be censored in Kamchatka. I can't fail to add that this is an example of the kind of journalism I abhor. The author's condescension ("dismal small city") is palpable from the beginning. The author doesn't bother to name the theater under discussion - the Kamchatka Drama Theater. Moreover, would any western journalist waste his/her time to write about serious achievements or developments in art? Rarely. But a whiff of censorship, of which there is only a very little here, gets a huge word count in a DC paper. Nonetheless, the story is of interest, so I'm posting it.

Yana Ross overviews new drama in "Russia's New Drama from Togliatti to Moscow," Theater, Vol. 36, No. 1: 26-43. 

Director Michael Boyd writes about his interest in, and experience with, Russian theater, including comments about Anatoly Efros, the Durnenkov brothers, Natalya Vorozhbit, Lyudmila Petrushevskaya, Georgy Tovstonogov, the 2009 Russian season (REVOLUTIONS) at the RSC, and other topics.

Go here to read Elyse Sommer's review of Alexander Ostrovsky's The Forest at the Pearl Theater in NY in 1997. I would not usually post something like this, but Ostrovsky - a great playwright who is deeply under-appreciated in the US - is so rarely produced that this seems worthwhile.

Go here to read Tom Birchenough's preview of Noah Birksted-Breen's Russian drama festival at his Sputnik Theatre in February, 2010.

Go here to read Jonathan Levi's piece about the Russian Case/Golden Mask Festival in Moscow in 2005.

Go here to read Steven Leigh Morris's excellent piece on Lee Breuer directing Sam Shepard's The Curse of the Starving Class at the Saratov Youth Theater (Theater Yunogo Zritelya).

Go here to read a blog about Russian classical drama by Noah Birksted-Breen, founder of the Russian-oriented Sputnik Theatre in London.

Go here to read a blog by Noah Birksted-Breen on contemporary Russian drama.

Go here to read another blog by Noah Birksted-Breen on contemporary Russian drama.

Nancy Groves interviews Noah Birksted-Breen about his festival of new Russian drama in 2010. The discussion includes comments about Natalya Kolyada, Maksym Kurochkin, Vladimir Zuev, Yaroslava Pulinovich and others.

Go here to read John Barry's preview of the CITD/Towson New Russian Drama Season, 2009-2010.

Go here to read a piece wrapping up the CITD/Towson University Russian Season, 2009-2010.

Go here to hear a radio conversation about Russian drama at Towson University between John Barry and Yury Urnov.

Go here to read this feature about the plays and themes of the Russian season at Towson University in 2009-2010.

Go here to read this feature about the Chekhov International Theater Festival in Moscow in the summer of 2010. You will be required to register on the site, but it is free and it is relatively quick.

This page contains thumbnail sketches of four Russian playwrights - Alexander Arkhipov, Mikhail Durnenkov, Alexander Rodionov and Ksenia Stepanycheva.

Go here to read an article about new Russian magazines and journals about theater. 

Elissa Blake writes about a large number of Russian plays coming to Sydney in 2009, including those by Maxim Gorky, Alexei Arbuzov, Vasily Sigarev, Anton Chekov.

Jim O'Quinn writes a feature on some of the director's theater that impressed him on a trip to Moscow in 2004: "The Tsar is In: Theatre in Russia is still a director's game - with often sensational results," AT (July/August 2004). The full text of the article is available in the Documents section of this site.

Anatoly Antohin puts together a photo gallery of Russian theater from the time of Stanislavsky to the present, with portraits of Kama Ginkas, Lev Dodin, Pyotr Fomenko and many others.

Actor Alexei Devotchenko publishes an open letter rebutting famous Russian culture figures who called for Vladimir Putin to seek a third term as Russian president.

Patricia M. Szymczak writes a feature about Soviet theater artists visiting Chicago in 1989. Those mentioned in the story are Mikhail Ulyanov and Kama Ginka.

Natalia Antonova blogs about the situation around the banning of several new Russian drama plays in Belgorod in early 2011.

This unsigned feature in The Economist from 1997 discusses productions by Galina Volchek, Yury Pogrebnichko and Oleg Yefremov while taking on the topic of new productions of Anton Chekhov in Russia.

Here is an unsigned review essay of a book about amateur theaters in Russia.

Nelson Pressley interviews Joy Zinoman about the upcoming 2004-2005 Russian season at her Studio Theatre in Washington, D.C., where there were productions of plays by Oleg Bogaev, the Presnyakov brothers, Vasily Sigarev and others.

kama ginkas

Liisa Byckling writes about Kama Ginkas's productions of Anton Chekhov in Helsinki, Finland. You may need to drop down a few pages once this link activates.

Go here to read Ron Jenkin's feature in the New York Times on Kama Ginkas working in the United States in 2003.

Go here to read Celestine Bohlen's 2000 feature about Kama Ginkas in the New York Times, 2000.

Go here to read this review by Alvin Klein in the New York Times of Kama Ginkas's production of Rothschild's Fiddle at Yale Repertory Theater.

Go here to read this feature by Catherine Foster in the Boston Globe about Kama Ginkas working at A.R.T. in Cambridge, MA, in 2003.

Malcolm Johnson reviews Ginkas's production of Anton Chekhov's Rothschild's Fiddle, produced by the Moscow Young Generation Theater and Yale Repertory Theater, 2004.

Joanne Greco Rochman reviews Ginkas's production of Anton Chekhov's Rothschild's Fiddle, produced by the Moscow Young Generation Theater and Yale Repertory Theater, 2004.

Christopher Arnott reviews Ginkas's production of Anton Chekhov's Rothschild's Fiddle, produced by the Moscow Young Generation Theater and Yale Repertory Theater, 2004.

Laura Collins-Hughes reviews Ginkas's production of Anton Chekhov's Rothschild's Fiddle, produced by the Moscow Young Generation Theater and Yale Repertory Theater, 2004.

A spectacular, oversized book of 180 high-quality photos of productions by Kama Ginkas by English photographer Ken Reynolds. Almost Everything Until Now: Ken Reynolds to Kama Ginkas was created as a gift for Ginkas's 70th birthday May 7, 2011. It is self-published through blurb.com and will soon be available for purchase to the public. I will post ordering information when it is available. 

Yevgeny Kazachkov

Ilaria Parogni interviews Nina Belenitskaya and Yevgeny Kazachkov about their plays The Sounds of Silence and Start-Up, respectively, to be presented in London at Theatre503.

yury klavdiev

 John Nathan interviews Yury Klavdiev and previews productions of plays by Klavdiev, Mikhail Durnenkov and Natalya Vorozhbyt in Oran Mor's A Play, a Pie and a Pint project in Scotland.

Go here to read a review of Valeria Gai-Germanika's film Everybody Dies But Me, which was scripted by Yury Klavdiev and Alexander Rodionov. Note: As is common on this site the writers' contributions are not discussed directly.

Helen Shaw of Time Out NY wrote an excellent blog about Yury Klavdiev's Martial Arts, a wild fantasy of modern violence, crime and redemption (maybe), that was translated beautifully by David M. White and staged with great humor and pacing by Yury Urnov.

Go here to read John Barry's feature on James Knight, who performs in David M. White's production of Yury Klavdiev's I Am the Machine Gunner for Generous Company.

Tiffanie Wen reviews Noah Birksted-Breen's production of Yury Klavdiev's The Slow Sword at the Sputnik Theatre, London, 2007.

Timothy Ramsden reviews Noah Birksted-Breen's production of Yury Klavdiev's The Slow Sword at the Sputnik Theatre, London, 2007.

Lyn Gardner reviews Noah Birksted-Breen's production of Yury Klavdiev's The Slow Sword at the Sputnik Theatre, London, 2007.

David M. White writes an essay for internet magazine ArtsnFashion about his discovery of, and work with, Yury Klavdiev and his play I Am the Machine Gunner in a production for Generous Company. This site is a bit cumbersome, so after you arrive on the main page, click on the magazine cover and then, by scrolling across the pages at the bottom of the page, go to page 30 or 32 (there seems to be a glitch in page numbering...).

nikolai kolyada

Murph Henderson wrote a fine feature on Nikolai Kolyada and many other Yekaterinburg theater personalities for American Theatre magazine: ""Who Needs Moscow? A guru of Russian playwriting holds court in distant Ekaterinburg," AT (March 06). The full text is available in the Documents section of this site.

Blair Ruble published this long essay on Nikolai Kolyada and the state of the theatrical art in Yekaterinburg as a Kennan Institute Occasional Paper: "Urals Pathfinder: Theatre in Post-Soviet Yekaterinburg."

Dmitry Krymov

I don't really know where on this site to put this item, but since it must be somewhere, here is as good as any place. Go here to see a selection of marvelous paintings and drawings by Dmitry Krymov, who, in addition to being one of Russia's most important directors today, is also a brilliant painter and graphic artist.

Jane Shilling in The Telegraph reviews Dmitry Krymov's production of A Midsummer Night's Dream as performed at the Edinburgh Festival in August 2012.

Andrew Haydon's blog review of Dmitry Krymov's production of A Midsummer Night's Dream as performed at the Edinburgh Festival in August 2012.

The Voice of Russia reports on the Herald Angel award presented to Dmitry Krymov's production of A Midsummer Night's Dream as performed at the Edinburgh Festival in August 2012.

Steve Newman's Bookstove blog review of Dmitry Krymov's production of A Midsummer Night's Dream as performed at the Edinburgh Festival in August 2012.

Neil Cooper in the Herald Scotland interviews Dmitry Krymov in regards to Krymov's production of A Midsummer Night's Dream as performed at the Edinburgh Festival in August 2012.

Michael Billington in The Guardian reviews Dmitry Krymov's production of A Midsummer Night's Dream as performed at the Edinburgh Festival in August 2012.

Ian Shuttleworth in the Financial Times reviews Dmitry Krymov's production of A Midsummer Night's Dream as performed at the Edinburgh Festival in August 2012.

Ian Hughes in the Stratford Observer reviews Dmitry Krymov's production of A Midsummer Night's Dream as performed at the Edinburgh Festival in August 2012.

Finn Pollard blogs (peevishly) about Dmitry Krymov's production of A Midsummer Night's Dream as performed at the Edinburgh Festival in August 2012.

Ben Brantley reviews Dmitry Krymov and Alexander Bakshi's Opus No. 7 at St. Ann's Warehouse, NY, in the New York Times. January 2013. 

John O'Mahoney writes about Dmitry Krymov and his theater for The Guardian during Krymov's 2014 tour to England of Opus No. 7.

Lyn Gardner reviews Dmitry Krymov's Opus No. 7 at the Brighton Festival in The Guardian, 2014.  

maksym kurochkin

John J. Hanlon writes about his work on translations of plays by Maksym Kurochkin for a TCG blog series curated by Caridad Svich in the summer of 2014.

Go here to read a short programmatic essay by Maksym Kurochkin on his view of writing plays. 

Sputnik Theatre company of London interviews Maksym Kurochkin.

Graham Schmidt interviews Maksym Kurochkin on the eve of the premiere of Graham's production of Max's The Schooling of Bento Bonchev at Breaking String Theater, Austin, TX.

In this overview of the 2012 SXSW festival in Austin, TX, and the New Russian Drama Festival at Breaking String Theater, Robert Faires offers a couple of salient points about Maksym Kurochkin, his play The Schooling of Bento Bonchev and the connection between Austin and Russia.

This interview with Maksym Kurochkin on the "Teatre Portal" is offered here in a straight Google translation into English. You need a bit of imagination to read it, but sense can be made.

Graham Schmidt blogs about Maksym Kurochkin's Vodka, Fucking and Television, which Liz Fisher will stage in John Hanlon's translation at Breaking String Theater in Austin, TX, in Nov./Dec. 2012.

Graham Schmidt interviews John J. Hanlon about his translation of several plays by Maksym Kurochkin, including Vodka, Fucking and Television, Fighter Class Medea and others.

David Glen Robinson reviews Liz Fisher's production of Maksym Kurochkin's Vodka, Fucking and Television for Breaking String Theater in Austin, TX., in Nov./Dec. 2012.

DJ Pearce reviews Australia's 5pound Theatre production of Maksym Kurochkin's Vodka, Fucking and Television as a part of the 2 Short Russians program, May-June, 2013.

Robert Faires writes a full-length preview of Dulcey and Roxy at City Hall on the eve of the show's premiere at Breaking String Theater, Austin, TX. 

Yury Lyubimov

Go here to read Sergei Loiko's Los Angeles Times interview with Yury Lyubimov, 2010. 

AFP reports on Yury Lyubimov's latest resignation from the Taganka Theater in the waning days of June, 2011. Lyubimov has been doing this once every few months lately; only time will tell if this one sticks.

Leonardo Shapiro interviews Yury Lyubimov way back in 1991, shortly after he had returned to the Taganka Theater in Moscow and was preparing to stage Nikolai Erdman's The Suicide.

RFE-RL reports on the early stages of Yury Lyubimov's break with his actors at the Taganka Theater in June 2011.

Yevgenia Chaikovskaya writes about the break between Yury Lyubimov and his actors at the Taganka Theater.

The Russian World News site provides a clumsily-translated account, but with some new information, about Yury Lyubimov's break with the Taganka Theater in summer 2011.

Photos of actors meeting the press in front of the Taganka Theater in connection with their break with Yury Lyubimov in June 2011. 

Russia Today TV offers a brief review of Yury Lyubimov's production "Fairy Tales" at the Taganka Theater in 2009.

The New York Times runs a wire story about divisions at the Taganka Theater in 1987 - some actors wanted Lyubimov back, others didn't. 

"Yuri Lyubimov by Leonard Shapiro," an interview in Bomb magazine 34 (Winter 1991). Available online

NATALYA MOSHINA

Natalie Bennett reviews Noah Birksted-Breen's production of Natalya Moshina's The Techniques of Breathing in an Air-Locked Space at the Sputnik Theatre, London, 2006.

Mark Brown writes a brief review of Noah Birksted-Breen's production of Natalya Moshina's The Techniques of Breathing in an Air-Locked Space at the Sputnik Theatre, London, 2006.

Olga mukhina

Go here to read the text of Jessica Brokish-Wienhold's 2010 doctoral dissertation THE DOUBLE BIND” OF 1989: REINTERPRETING SPACE, PLACE, AND IDENTITY IN POSTCOMMUNIST WOMEN’S LITERATURE, which includes discussions of Olga Mukhina, Nina Sadur, Lyudmila Petrushevskaya and others, along with numerous Central European writers.

Yana Meerzon, "Every Home is its own Private Moscow: Between Geopathology and Nostalgia in Olga Mukhina's YoU, Slavic and East European Journal, Vol. 49, No. 4 (2005). First page only is available here; to access entire article you must pay or have a subscription to the publishing service. 

"One Hour Eighteen," Teatr.doc and elsewhere

Molly Flynn writes a scholarly article about Yelena Gremina's One Hour Eighteen in, "The Trial That Never Was: Russian Documentary Theatre and the Pursuit of Justice," in New Theatre Quarterly, Vol. 30, Issue 4, Nov. 2014, pp. 307-317. This is a pay-for-use site.

Natalia Antonova writes a feature-review in The Moscow News about the Yelena Gremina-Mikhail Ugarov project of One Hour Eighteen, a documentary play about the death of attorney Sergei Magnitsky in prison.

Ashley Cleek's report for RFE/RL on Mikhail Ugarov's production of Yelena Gremina's One Hour Eighteen, a documentary play at Moscow's Teatr.doc about the death in prison of attorney Sergei Magnitsky.

Go here to read a piece on Teatr.doc's production of One Hour Eighteen, a study of the death of attorney Sergei Magnitsky while in prison.

Go here to read background information about Ugarov/Gremina's production of One Hour Eighteen at Teatr.doc, , a documentary play about the death of attorney Sergei Magnitsky in prison.

Helen Womack writes a feature for the Sunday Times on Ugarov/Gremina's production of One Hour Eighteen at Teatr.doc, a documentary play about the death of attorney Sergei Magnitsky in prison.

Go here to read a feature for the Straits Times of Singapore on Ugarov/Gremina's production of One Hour Eighteen at Teatr.doc, a documentary play about the death of attorney Sergei Magnitsky in prison.

Veronika Khokhlova provides information about Mikhail Ugarov's production of One Hour Eighteen at Teatr.doc, a documentary play about the death of attorney Sergei Magnitsky in prison.

John Barry previews Yury Urnov's production of Yelena Gremina's play "One Hour Eighteen Minutes" at the Kennan Institute in Washington, D.C., and Single Carrot Theater, Baltimore.

A page of information, including quotes from Russian reviews, about Mikhail Ugarov's production of Yelena Gremina's One Hour Eighteen at Teatr.doc.

Yury Urnov is interviewed by Voice of America, in Russian, about his work directing Yelena Gremina's One Hour Eighteen Minutes in the United States.

Irina Shumovich reviews Noah Birksted-Breen's production of Yelena Gremina's "One Hour Eighteen Minutes" at the Sputnik Theatre in London.

Theodora Clarke reviews Noah Birksted-Breen's new, 2012 version, of Yelena Gremina's "One Hour Eighteen Minutes" in London for a website devoted to the late Russian lawyer Sergei Magnitsky. The same piece can be found on the Russian Art and Culture site.

Phoebe Taplin reviews Noah Birksted-Breen's new, 2012 version, of Yelena Gremina's "One Hour Eighteen Minutes" in the Russia Beyond the Headlines supplement.

William Drew reviews Noah Birksted-Breen's new, 2012 version, of Yelena Gremina's "One Hour Eighteen Minutes" on the Exeunt website.

Chris O'Shaughnessy reviews Noah Birksted-Breen's new, 2012 version, of Yelena Gremina's "One Hour Eighteen Minutes" on the One Stop Arts website.

Luke Balleny reviews Noah Birksted-Breen's new, 2012 version, of Yelena Gremina's "One Hour Eighteen Minutes" on the TrustLaw website.

Oliver Poole previews Noah Birksted-Breen's new, 2012 version, of Yelena Gremina's "One Hour Eighteen Minutes" in the London Evening Standard.

Molly Flynn writes a detailed, excellent piece about One Hour, Eighteen Minutes at Teatr.doc. 

Vladimir Pankov and soundrama

Hannah Ellis-Petersen, in The Guardian, previews The War, a production by Vladimir Pankov (who is a director, musician, composer and actor, but not a playwright) and his Soundrama Studio at Edinburgh, August 2014.

Michael Billington in The Guardian reviews Vladimir Pankov's production of The War for Soundrama Studio and the Edinburgh Festival. Aug. 2014. 

Murdo MacLeod provides a gallery of photos with description of Vladimir Pankov's production of The War for Soundrama Studio and the Edinburgh Festival. The Guardian, Aug. 2014. 

Martin Hoyle in the Financial times reviews Vladimir Pankov's production of The War for Soundrama Studio and the Edinburgh Festival. August 2014.

Blogger Neil Cooper writes about Vladimir Pankov's production of The War for Soundrama Studio and the Edinburgh Festival. Coffee Table Notes, August 2014.

RIA Novosti provides a large catalogue of photos from a dress rehearsal of Vladimir Pankov's The War for Soundrama Studio in the summer of 2014.

Laura Barnett in the Telegraph reviews Vladimir Pankov's production of The War for Soundrama Studio and the Edinburgh Festival. Aug. 2014. 

Michael Coveney reviews Vladimir Pankov's production of The War for Soundrama Studio and the Edinburgh Festival. What's On Stage, Aug. 2014.

Dione Joseph, for Theatre Review of New Zealand, reviews Vladimir  Pankov's production of The War for Soundrama Studio and the Edinburgh Festival. Aug. 2014. 




presnyakov brothers

Go here to read a Time magazine report on the Presnyakov brothers.

Philip Fisher reviews Ramin Gray's production of the Presnyakovs' Terrorism in London at the Royal Court Theatre Upstairs in 2003.

Elyse Sommer reviews Will Frears' production of the Presnyakovs' Terrorism for the New Group and the Play Company in New York, 2005.

Helen Thomson reviews Alex Menglet's production of the Presnyakov brothers' Playing the Victim at Red Stitch Actors' Theatre.

Go here to read a blog review of Victor Bizzotto's production of the Presnyakov brothers' Terrorism at [email protected]

Ben Clover reviews Richard Wilson's production of the Presnyakov brothers' Playing the Victim at Jerwood Theatre Upstairs, Royal Court, 2003.

Michael Billington reviews Ramin Gray's production of the Presnyakov brothers' Terrorism at the Royal Court, 2003.

Bryce Hallett reviews Anthony Skuse's production of the Presnyakov brothers' Terrorism at the Darlinghurst Theatre in Sydney, 2006.

Ben Brantley reviews Will Frears' production of the Presnyakov brothers's Terrorism, produced by the New Group and the Play Company in NY, 2005.

Uma Chaudhuri reviews Will Frears' production of the Presnyakov brothers's Terrorism, produced by the New Group and the Play Company in NY, 2005.

Rich See reviews Keith Alan Baker's production of the Presnyakov brothers' Terrorism at the Studio Theatre in Washington, D.C.

Vera Liber reviews Richard Wilson's production of the Presnyakov brothers' Playing the Victim at the Royal Court, 2003.

Danila Privalov

Yana Ross introduces her translation of Privalvov's play Five-Twenty Five: "Generation Vexed: Danila Privalov," Theater, Vol. 36, No. 1 (2006): 71-73.

pavel pryazhko

Go here to see a gallery of photos taken of director Mikhail Ugarov and his actors rehearsing Pavel Pryazhko's Life is Grand at Teatr.doc in Moscow. 

Emmanuel Grynszpan writes a feature about Russian new drama, with particular focus on Pavel Pryazhko's Life is Grand at Teatr.doc in Moscow.

Kristina Matvienko writes an overview of Pavel Pryazhko.

Tatiana Artimovich provides the text of a lecture she delivered on the work of Pavel Pryazhko and why it is similar to photography. 

Elena Malchevskaya interviews Dmitry Volkostrelov, primarily about his work with the plays of Pavel Pryazhko. 

yaroslava pulinovich

Go here to read John Barry's review of Stephen Nunns' productions of Yaroslava Pulinovich's plays I Won and Natasha's Dream, performed during the CITD/Towson University Russian Season in 2010.

Sputnik Theatre company of London interviews Yaroslava Pulinovich.

Stephen Nunns writes about his productions of The Natasha Plays in "The Natasha Plays: Yaroslava Pulinovich at Towson University," Slavic and East-European Performance, Vol. 30, No. 3 (2010), 43 to 54. 

alexei scherbak

A feature by John Nathan in The Independent about visiting an annual Nazi parade in Latvia with Russian-language playwright Alexei Scherbak, an event about which he has written a play, Remembrance Day.

Domenic Cavendish reviews Michael Longhurst's production of Alexei Scherbak's Remembrance Day at the Royal Court Theatre, London, 2011.

A blog review of Michael Longhurst's production of Alexei Scherbak's Remembrance Day at the Royal Court Theatre, London, 2011. You may have to scroll down the page to find this piece which was published March 25, 2011.

Michael Billington reviews Michael Longhurst's production of Alexei Scherbak's Remembrance Day at the Royal Court Theatre, London, 2011.

Henry Hitchings writes a brief review of Michael Longhurst's production of Alexei Scherbak's Remembrance Day at the Royal Court Theatre, London, 2011.

Aleks Sierz writes a brief review of Michael Longhurst's production of Alexei Scherbak's Remembrance Day at the Royal Court Theatre, London, 2011.

Miriam Gillinson reviews Michael Longhurst's production of Alexei Scherbak's Remembrance Day at the Royal Court Theatre, London, 2011.

Quentin Letts writes a brief review of Michael Longhurst's production of Alexei Scherbak's Remembrance Day at the Royal Court Theatre, London, 2011.

MA reviews Michael Longhurst's production of Alexei Scherbak's Remembrance Day at the Royal Court Theatre, London, 2011.

Philip Fisher reviews Michael Longhurst's production of Alexei Scherbak's Remembrance Day at the Royal Court Theatre, London, 2011.

Paul Taylor reviews Michael Longhurst's production of Alexei Scherbak's Remembrance Day at the Royal Court Theatre, London, 2011.

Gary Naylor reviews Michael Longhurst's production of Alexei Scherbak's Remembrance Day at the Royal Court Theatre, London, 2011.

Sarah Hemming reviews Michael Longhurst's production of Alexei Scherbak's Remembrance Day at the Royal Court Theatre, London, 2011.

Gerald Berkowitz reviews Michael Longhurst's production of Alexei Scherbak's Remembrance Day at the Royal Court Theatre, London, 2011.

Webcowgirl reviews Michael Longhurst's production of Alexei Scherbak's Remembrance Day at the Royal Court Theatre, London, 2011.

Jane Edwardes reviews Michael Longhurst's production of Alexei Scherbak's Remembrance Day at the Royal Court Theatre, London, 2011.

Vasily sigarev

Ellen Barry writes a feature about Vasily Sigarev for the New York Times in connection with a production of his play Black Milk at the East 13th Street Theater in New York. 

Go here to read a review of Vasily Sigarev's film Wolfy, which he adapted from his own play. Note that the common British spelling of Vasily is "Vassily."

Philip Fisher reviews Dominic Cooke's production of Sigarev's Plasticine at the Royal Court Theatre Upstairs, 2002.

Paul Taylor reviews Dominic Cooke's production of Sigarev's Plasticine at the Royal Court Theatre Upstairs, 2002.

Andrew Eglinton reviews Sasha Dugdale's published translation of Sigarev's Plasticine.

Philip Fisher reviews Simon Usher's production of Vasily Sigarev's Black Milk at the Royal Court Theatre Upstairs in 2003.

Kate Bassett reviews Simon Usher's production of Vasily Sigarev's Black Milk at the Royal Court Theatre Upstairs in 2003.

Lizzie Loveridge reviews Simon Usher's production of Vasily Sigarev's Black Milk at the Royal Court Upstairs in 2003.

Michael Billington reviews Simon Usher's production of Vasily Sigarev's Black Milk at the Royal Court Upstairs in 2003.

Augusta Supple reviews Lee Lewis's production of Vasily Sigarev's Ladybird for Small Things Productions in Sydney, Australia.

John O'Mahoney interviews Yekaterinburg playwright Vasily Sigarev for The Guardian in 2003.

Paul Taylor reviews Vasily Sigarev's Ladybird at the Royal Court Upstairs, 2004.

Rich See reviews Sergei Seiden's production of Black Milk at the Studio Theatre, Washington, D.C., 2005. 

Sarah Shavel reviews Leann O'Kasi's production of Sigarev's Plasticine in London and Stratford, 2006. 

Jesse Weaver reviews Pat Kiernan's production of Sigarev's Plasticine for Corcadorca in Ireland, 2010.

Go here to see a video of Pat Kiernan's production of Sigarev's Plasticine for Corcadorca in Ireland, 2010.

Guiliano Vivaldi writes a blog about Vasily Sigarev winning the grand prize at the Wiesbaden GoEast film festival and about how the playwright has moved from theater into cinema. 

Viktor Slavkin

Mel Gussow in the New York Times reviews Anatoly Vasilyev's production of Viktor Slavkin's Cerceau, performed at the London International Festival of Theatre in London in 1987.

vladimir sorokin

Ellen Barry interviews and profiles Vladimir Sorokin, a top Russian novelist, whose plays "Cabbage Soup," "Dismorphomania," "Dostoevsky-Trip" and others have marked him as a major playwright as well.

Svitlana Agrest-Korotkova interviews Vladimir Sorokin, who speaks in brief about his general lack of interest in theater as an art-form.

Sovremennik Theater

Go here to read Paul Taylor's review of Galina Volchek's production of Yevgenia Ginzburg's Into the Whirlwind at the Noel Coward Theatre in London, 2011.

Go here to read Michael Billington's review of Galina Volchek's production of Yevgenia Ginzburg's Into the Whirlwind at the Noel Coward Theatre in London, 2011.

Go here to read David Nice's review of Galina Volchek's production of Yevgenia Ginzburg's Into the Whirlwind at the Noel Coward Theatre in London, 2011. 

Go here to read Domenic Cavendish's review of Into the Whirlwind in the Telegraph.

Go here to read Viv Groskup's brief review of Into the Whirlwind in the Guardian.

Go here to read Matt Wolf's review of the Sovremennik performing Chekhov's The Cherry Orchard in London.

Go here to read Paul Taylor's review of Galina Volchek's production of Anton Chekhov's The Cherry Orchard at the Noel Coward Theatre in London.

Go here to read Charles Spencer's review of Galina Volchek's production of Anton Chekhov's The Cherry Orchard at the Noel Coward Theatre in London.

Go here to read Paul Taylor's review of Galina Volchek's production of Anton Chekhov's Three Sisters at the Noel Coward Theatre in London, 2011.

Go here to read David Nice's review of Galina Volchek's production of Anton Chekhov's Three Sisters at the Noel Coward Theatre in London, 2011.

Go here to read Lyn Gardner's review of Galina Volchek's production of Anton Chekhov's Three Sisters at the Noel Coward Theatre in London, 2011.

Go here to read Dominic Cavendish's review of Three Sisters at the Noel Coward Theatre in London, 2011.

Go here to read Laurence Peter's preview of a week's residency in London by the Sovremennik Theater.

Go here to read Tom Birchenough's preview feature about the tour of Moscow's Sovremennik Theater to London in January 2011.

Go here to read Stuart Jeffries' preview of the tour of the Sovremennik Theater in London at the end of January, 2011.

Go here to read Natalie Woolman's preview of a tour by Moscow's Sovremennik Theater in London, Jan. 2011.

Go here to read Peter Marks' review of the Sovremennik Theater's production of Chekhov's The Cherry Orchard in New York in 1997. 

teatr.doc

Anna Nemtsova writes about a street performance of "Berlusputin" by Teatr.doc. Directed by Varvara Faer, based on Dario Fo's play "The Two-Headed Anomaly." This publication in Newsweek was posted on The Daily Beast. For more on Teatr.doc, see "One Hour Eighteen" above, as well as the General section.

Blair Ruble writes about the authorities hassling Teatr.doc right before the turn of the New Year 2015 on the website of the Wilson Center.

Natalia Antonova writes about the troubles of Teatr.doc in the London Review of Books blog.

Alexei Krizhevsky writes an excellent piece about the situation surrounding Teatr.doc at the advent of 2015.

The Guardian publishes a piece on Teatr.doc's problems, ca. June 2015, curiously attributed to "Reuters and John Freedman for The Moscow Times, part of the New East network."

Caitlin Connell and Patrick Connelly write this piece, "Intimidation Tactics," about some of the troubles faced by Teatr.doc and Gogol Center, ca. 2015. 

See also the entry on One Hour, Eighteen above. 

Vakhtangov Theater

Paul Taylor in the Independent reviews Rimas Tuminas's production of Chekhov's Uncle Vanya during a London residency of Moscow's Vakhtangov Theater at the Noel Coward Theatre in London.

David Nice on theArtsDesk.com reviews Rimas Tuminas's production of Chekhov's Uncle Vanya during a London residency of Moscow's Vakhtangov Theater at the Noel Coward Theatre in London.

For the Independent Holly Williams interviews actress Galina Konovalova prior to the opening of Rimas Tuminas's production of Chekhov's Uncle Vanya during a London residency of Moscow's Vakhtangov Theater at the Noel Coward Theatre in London.

Serena Davies in The Telegraph reviews the Vakhtangov Theater's Eugene Onegin performances in London at the Barbican.

Ian Shuttleworth in the Financial Times writes a short review of the Vakhtangov Theater's Eugene Onegin in London at the Barbican. 

Michael Billington in the Guardian reviews the Vakhtangov Theater's Eugene Onegin in London at the Barbican.

Fisun Guner at artsdesk.com previews the Vakhtangov Theater's Eugene Onegin in London at the Barbican. 

Laura Collins-Hughes in the New York Times reviews the Vakhtangov Theater's Eugene Onegin in New York at City Center.

Jeffrey Gantz in the Boston Globe reviews the Vakhtangov Theater's Eugene Onegin in New York at City Center. 

Fisun Guner at theartsdesk.com reviews the Vakhtangov Theater's Eugene Onegin in New York at City Center. 
Fisun Guner at theartsdesk.com reviews the Vakhtangov Theater's Eugene Onegin in New York at City Center. 
 Dmitry Volkostrelov

Go here to read an interview with director Dmitry Volkostrelov, who studied under Lev Dodin and has produced plays by Pavel Pryazhko, Ivan Vyrypaev and others.

Elena Malchevskaya interviews Dmitry Volkostrelov, primarily about his work with the plays of Pavel Pryazhko.

natalya vorozhbyt (also spelled vorozhbit)

Caroline Walton writes a blog about Michael Boyd's production of Natalya Vorozhbyt's The Grain Store at the Royal Shakespeare Company in 2009.

Michael Billington reviews Michael Boyd's production of Natalya Vorozhbyt's The Grain Store at the Royal Shakespeare Company in 2009.

Philip Holyman reviews Michael Boyd's production of Natalya Vorozhbyt's The Grain Store at the Royal Shakespeare Company in 2009.

Taissa Csaky writes a brief review of Michael Boyd's production of Natalya Vorozhbyt's The Grain Store at the Royal Shakespeare Company in 2009.

Adam Sweeting reviews Michael Boyd's production of Natalya Vorozhbyt's The Grain Store at the Royal Shakespeare Company in 2009.

Henry Hitchings reviews Michael Boyd's production of Natalya Vorozhbyt's The Grain Store at the Royal Shakespeare Company in 2009 (and the Durnenkov's The Drunks).

Kate Bassett reviews Michael Boyd's production of Natalya Vorozhbyt's The Grain Store at the Royal Shakespeare Company in 2009 (and the Durnenkov's The Drunks).

Benedict Nightingale reviews Michael Boyd's production of Natalya Vorozhbyt's The Grain Store at the Royal Shakespeare Company in 2009 (with one paragraph about the Durnenkov's The Drunks).

Kristina Matvienko writes a feature on Natalya Vorozhbyt, "A Girl with an Attitude," for the Russian International Theater Institute website. 

Natalya Vorozhbyt blogs for The Guardian in February 2014 about a play she is writing about the Maidan demonstrations and the revolution in Ukraine.

Molly Flynn interviews Natalya Vorozhbyt about Maidan: Voices from the Uprising, a new documentary play to be staged at the Royal Court Theatre in London.

Joyce McMillan writes about Natalya Vorozhbyt's short play Take the Rubbish Out, Sasha, playing at Oran Mor in Glasgow from March 31 to April 4, 2015.

Alexander Vvedensky

Christopher Hoile reviews Aleksandar Lukac's production of Alexander Vvedensky's 1930s absurdist classic Christmas at the Ivanovs at the Talk is Free Theater in Toronto in 2002.

Peter Marks, in the New York Times, reviews Karin Coonrood's production of Alexander Vvedensky's 1930s absurdist classic Christmas at the Ivanovs at the Classic Stage Company in New York in 1997. 

Ivan Vyrypaev

Go here to read a piece about Ivan Vyrypaev's film version of his seminal "new drama" play Oxygen.

Go here to see a photo gallery of Vyrypaev during rehearsals of a Polish production of his play Delhi Dance performing on tour in Moscow, 2010.

Beach Gray writes about Vyrypaev's film Oxygen, based on his eponymous play.

A blurb about Svetlana Proskurina's film The Best of Times, for which Vyrypaev wrote the script, 2007.

Leslie Felperin, admitting that her "offshore eyes" may be clouded, reviews Vyrypaev's film Oxygen, based on his eponymous play.

Sasha Dugdale introduces her translation of Ivan Vyryapaev's Oxygen: "Oxygenating Theater: A Translator's Note," Theater, Vol. 36, No. 1 (2006): 45-47.

Neil Genzlinger reviews Cazimir Liske's production of Ivan Vyrypaev's Illusions at the Jerome Robbins Theater, Baryshnikov Arts Center, in the New York Times, Sept. 19, 2014. 

Anna yablonskaya

The New York Times correspondent in Moscow writes about the death of playwright Anna Yablonskaya, pseudonym of Anna Mashutina, in a terrorist attack at Domodedovo airport in Moscow.

Writing about the death of playwright Anna Yablonskaya in a terrorist attack, journalist and playwright Natalia Antonova calls for a reconsideration about the way the press writes about the victims of terror.

Translator Sasha Dugdale remembers the playwright Anna Yablonskaya, who died in a terrorist attack in Moscow on January 24, 2011.

Shari Perkins writes about Yablonskaya in "Anna Yablonskaya, 1981-2011, Slavic and East-European Performance, Vol. 31, No. 1 (2011), 19-22.

Sergei Zhenovach

Amy Lee Pearsall reviews Sergei Zhenovach's production of Boys, a dramatization of Fyodor Dostoevsky's The Brothers Karamazov for the Moscow Studio of Theater Art, on tour in New York in 2010.

Elisabeth Stevens reviews Sergei Zhenovach's production of Boys, a dramatization of Fyodor Dostoevsky's The Brothers Karamazov for the Moscow Studio of Theater Art, on tour in Florida in 2010.