‘Expressing your pain in artistic form is not easy’: exiled Russian theatre director builds bridges in London

Renowned Russian Director Dmitry Krymov Embarks on UK Collaboration Following Exile

Celebrated Russian stage director, Dmitry Krymov, a recipient of numerous prestigious Moscow theatre accolades, who faced exile after publicly criticizing the invasion of Ukraine, has voiced his profound thoughts on the war’s repercussions as he prepares for his inaugural project with British performers. The Moscow-born artist, aged 70, intends to draw upon Charles Dickens’ classic narratives, Great Expectations and Hard Times, to conceive an innovative theatrical production. This marks Krymov’s first foray into British theatre since his departure from Russia.

Bridging Divides Through Dickens in London

Arriving in London recently for a brief visit, Krymov, widely esteemed by Western theatre critics as a leading global director, conveyed to the Observer his aspiration to connect British and Russian artists and spectators, notwithstanding the rifts caused by President Vladimir Putin’s actions. This international theatre collaboration aims to foster cultural exchange and dialogue.

Workshop Collaboration and Family Support

“It is precisely because of this ambition that we resolved to develop our Dickens performance,” he stated, preceding his initial acting workshops. These sessions were organized by Margaret Cox, a writer and producer and daughter of Scottish Succession actor Brian Cox, in conjunction with Lucie Dawkins from Scrum Theatre in Hammersmith, a former student of Krymov. Cox added, “My brother, actor Alan Cox, and I have long admired Krymov’s work, and we are dedicated to supporting him in any way possible.”

Exile as a Catalyst for Artistic Expression

Krymov aspires to cultivate further cultural dialogues, which have recently been hindered by sanctions and escalating animosity towards Russia. The anguish and sorrow associated with his departure from Moscow, where he held a prominent cultural position, now serve as a potent impetus for his creative endeavors. However, he acknowledges the challenges inherent in employing entertainment as a vehicle for political messaging. “It’s a gradual process. Articulating your pain through artistic expression is remarkably complex; the instinctive reaction is to simply articulate your sentiments in blunt, explicit terms,” he admitted.

Finding Strength in Displacement

His period of exile, initiated when he endorsed a letter of protest in 2022 immediately following the full-scale invasion of Ukraine, has, paradoxically, invigorated him. “As the adage suggests: ‘What doesn’t kill us makes us stronger.’ Consequently, I hope to demonstrate through my current work, undertaken in this unforeseen fissure in the world order, that not everything is governed by physical laws. To put it another way, I am striving not to succumb to despair, but to construct performances at the precipice of this divide.”

Unexpected Exile and Career Disruption

On that pivotal day three years prior, Krymov had journeyed to the United States with his wife, Inna, poised to continue preparations for a production of Anton Chekhov’s The Cherry Orchard in Philadelphia. Upon arrival, he received warnings from friends and concerned associates in Moscow that returning to Russia would now be perilous.

Artistic Setback and Global Condemnation

In an interview with Voice of America, Krymov likened the menace of the invasion to the threat posed by the Second World War. Immediately following his protest, seven of the nine distinct productions he had running in Moscow theatres were abruptly shut down. His name was subsequently removed from promotional materials for the remaining two, which have also now been closed.

A Legacy of Innovation and Recognition

Prior to these events, Krymov enjoyed both critical acclaim and public popularity in Russia, renowned for his pioneering experimental techniques and recipient of multiple Golden Masks, Russia’s equivalent to the Olivier or Tony Awards. He is also the offspring of distinguished parents: Anatoly Efros, a director born in present-day Ukraine, and Natalya Krymova, a theatre critic.

Prior Dissent and Shifting Political Climate

Krymov, who adopted his mother’s surname, had previously expressed dissent towards Putin, signing a public letter of protest following the annexation of Crimea in 2014. Despite this, he had until recently been permitted to work relatively unhindered.

Life in Exile and Advocacy Against Cultural Boycotts

Following his exile, Krymov initially resided in Latvia, France, and Israel, before establishing himself in New York and launching an actors’ workshop. He has since argued against comprehensive cultural boycotts, considering them potentially counterproductive. “The inclination to eradicate everything Russian on a nationalistic basis is also a form of nationalism,” he asserted.

London Visit and Thornton Wilder Adaptation Screening

During his current sojourn in London, Krymov will participate in a question and answer session after a screening of his production Все тут, or “Everyone Is Here”—an adaptation of Our Town, the American theatre classic by Thornton Wilder—at Ciné Lumière in South Kensington. This special event offers insights into Krymov’s work and artistic perspectives.

Insights into British and Russian Theatre

This weekend, he expressed anticipation for gaining a deeper understanding of British artistic talent, observing that actors transitioning between film and theatre are moving “from Disneyland to an empty space.”

Broadway vs. Russian Theatrical Approaches

He acknowledged that he lacked a definitive impression of London’s distinct theatrical style but noted the contrast between Broadway and off-Broadway productions. “In the Russian tradition, audiences attend the theatre seeking answers to profound questions that concern them, whereas on Broadway, the primary motivation is entertainment.”

Hope for Meaningful Dialogue Amidst Conflict

Regarding Russia, he expressed hope that, despite the ongoing conflict, “the fundamental human need to hear something significant, something not readily available in mainstream news or public discourse, will persist.” This enduring need for deeper meaning fuels his artistic drive and vision for theatre’s role in society.