20th century
1930s
In December 1930, an unusually cold start of winter surprised the residents of Samara not only with severe frost before the New Year, but also with an unusual theater poster. It announced the premiere of the play “Aul Gidje” by N. Shestakov, staged by director B. Smirnov. At that time, the Middle Volga Region covered a vast territory. For many of its residents, issues related to Islam and Eastern culture were important and relevant. In addition, a large-scale campaign to eliminate illiteracy was underway, and the Russian language was being actively taught. For the young theater, it was also important that the play required a relatively small cast and could be performed by a small troupe.
In its first year, the theater’s productions were attended by 124,000 spectators. The company consisted of 19 actors. New actors, directors, and technical specialists were invited to join the theater. The theater also formed its own orchestra.
The repertoire of the Theater for Young Audiences was diverse. It included “Dubrovsky” by Alexander Pushkin, “Tartuffe” by Jean-Baptiste Molière, “Poverty Is No Vice” by Alexander Ostrovsky, and “Don Quixote” by Miguel de Cervantes. One of the most notable productions was the play by Alexandra Brushtein based on the novel “Uncle Tom’s Cabin” by Harriet Beecher Stowe. The story evoked strong emotions in the audience: sympathy for Uncle Tom, criticism of his submissiveness, and empathy for the child characters who opposed slavery. The play “Tom Sawyer” was also very popular among young audiences.
In 1937, an important administrative change took place. Previously, the theater had been part of the public education system, which reflected its educational mission. However, professional artistic issues were not always a priority within that system. In 1937, the theater was reassigned to the Kuibyshev Regional Department for the Arts and officially became part of the professional theater network of the region.
At the same time the theater building underwent partial renovation. The foyer was improved, a cloakroom and ticket office were arranged, and the walls were repainted. Soft furniture and plants were added, making the space clean and comfortable for visitors.
These were the last years before World War II. During this period, the Kuibyshev Theater for Young Audiences was developing successfully. It had strong artistic leadership, including A. Kormilov and M. Malamud, and a stable troupe. The theater seemed to have a promising future and all the conditions for further growth. However, this progress was abruptly interrupted by the outbreak of war. In June 1941, the Kuibyshev Theater for Young Audiences ceased to exist.
1940s
During World War II, despite the ongoing fighting, public attention turned again to the need for a theater for young audiences. On August 27, 1942, the newspaper Volzhskaya Kommuna published a letter written by a group of prominent scholars and lecturers from the Kuibyshev Pedagogical Institute. The letter was titled “The Theater for Young Audiences Must Exist.” This public appeal was heard. The Executive Committee of the Kuibyshev Regional Council issued a resolution to reopen the Theater for Young Audiences in honor of the 25th anniversary of the October Revolution.
However, despite the official decision, the theater resumed its work only on June 1, 1943. Its reopening was marked by the premiere of the play “At the Dawn of Misty Youth.” Nikolai Abalkin was appointed artistic director.
During the war years, the theater’s repertoire was largely focused on military and patriotic themes. It included productions such as “Nadezhda Durova” by A. Liskerov and I. Kochetkov, “Finist the Bright Falcon” by N. Shestakov, and “The Day of the Living” by A. Brushtein.
The war also brought losses to the theater community. News was received that director A. Maslennikov and actors A. Zverev and A. Mikhailovsky had been killed at the front.
In the late 1940s, an important figure joined the theater: M. Svinin, who later became its chief designer and worked there for more than 30 years.
The company was also strengthened by new members, including war veteran Alexander Vasiliev and a group of young actors: V. Tikhonova, G. Grebenkin, V. Krasnopolsky, Z. Gumerov, Yu. Yuryan, V. Gavrilov, and S. Bogolyubova. These young actors quickly became part of the theater’s repertoire, performing alongside established artists such as P. Studitsky, K. Lepskaya-Klavdina, L. Lyubimova, T. Davydova, and N. Tsibin.
1950s
In the 1950s, classical productions became an important part of the theater’s artistic life. Among them were “On the Eve” by Ivan Turgenev, “The Storm” and “There Was Not a Penny, But Suddenly Altyn” by Alexander Ostrovsky, and “The Philistines” by Maxim Gorky.
By this time, drama written specifically for children had become more artistically developed. Leading positions in the repertoire were taken by well-known Soviet authors such as Lev Kassil, Sergei Mikhalkov, and Viktor Rozov.
However, the most frequently staged author at the theater was Arkady Gaidar. His work “R.V.S.” was produced several times over the years. Its engaging plot allowed directors to convey to young audiences a sense of romance and heroism associated with the revolutionary period.
During the same period, an unusual initiative took place. The theater attempted to adopt the name of Alexander Pushkin. However, this proposal, supported locally in Kuibyshev, was not approved by the central government.
1960s
One example of this work was the stage adaptation of the story “Lidka-Chapaenok” by journalist Andrei Vyatsky. It became the basis for the play “We Grew Up in the Flames,” which told the story of boys and girls from Samara during the years of the революция. Another example was the play “When There Is Anxiety in the Heart” by the Samara playwright V. Molko. After being staged in Kuibyshev, it was later produced in other cities across the Soviet Union.
Themes related to the Civil War and World War II, as well as the idea of heroism—not only military, but also moral and human—became central to the theater’s repertoire for many years.
A new stage in the theater’s development was associated with chief directors N. Gentsler and Ya. Lobach. Under their direction, the representation of heroism on stage began to change. Instead of focusing on battles and victories, productions explored the social and psychological roots of heroism. The theater aimed to present the inner world of its characters and their moral choices.
A key example of this approach was the production “How the Steel Was Tempered.” The stage adaptation by S. Tabachnikov was based on the novel and letters of Nikolai Ostrovsky. Unlike earlier adaptations of this well-known work, this version focused on revealing the complex inner life of the main character. The role of Pavel Korchagin was performed by the young actor A. Simkovich.
At the same time, the theater continued to stage a wide range of productions, including classical works, fairy tales for children, and plays about school life, which were especially popular with young audiences. Among them were “Vovka on the Planet Yalmez” “Little Red Riding Hood” “The Black Diamond” “Magic Bast Shoes” “The Silver Hoof” “Be Ready, Your Highness” and “The Invisible Lady.”
All of this work continued despite the long reconstruction of the theater building. During this period, the company was forced to go on extended tours and perform on the stages of city and rural clubs.
1970s
In September 1970, the Theater for Young Audiences opened its 40th season. The opening performance took place at the Palace of Culture on Kirov Square and featured the play “Sombrero” based on a work by Sergei Mikhalkov.
In 1971, the theater began a new season in its renovated building on Samarskaya Street. This marked the beginning of a period of creative growth.
The 1970s in the theater’s history are closely associated with the director Lev Shvarts. Although he worked in Kuibyshev (Samara) for a relatively short time, he made a strong impact on the theater. His first major production was “An Italian Tragedy,” based on a novel by Ethel Lilian Voynich. Another notable production was “R.V.S.,” which he staged as a musical performance with songs, dances, and choral scenes. The production was яркий и зрелищный, resembling a theatrical spectacle. Shvarts described his approach as creating a “poetic theater.”
Among his other productions were “Doctor Aybolit”, “Moscow Holidays”, “The Unknown Soldier”, “I See the Sun” and “The Cherry Orchard.” Many of the theater’s productions at that time included music. The composer Leonid Vokhmyanin, head of the theater’s music department, wrote music for most of these performances.
In 1975, Valery Erokhin became the director of the theater. Around the same time, Tengiz Makharadze was appointed chief director. His production of “Audacity” by Nikolai Pogodin became one of his most notable works.
In 1977, an important development took place: the theater opened a small stage. It was inaugurated with the play “Interrogation” by S. Rodionov. This production was the graduation project of the young director G. Egorov from Leningrad. He later staged “The Prince and the Pauper” by A. Yakovlev.
Directing for a children’s theater requires not only artistic skills but also pedagogical work. One of the directors who embodied this approach was Evgeny Fridman. His first production, “Don Stories” by Mikhail Sholokhov, marked the beginning of a new stage in the theater’s development.
Among his later works were “The Adventures of Tom Sawyer” by Mark Twain, “Four Girls and a Strange Character” by D. Ugryumov and V. Molko, “Winnie-the-Pooh” by A. A. Milne, and “The Lower Depths” by Maxim Gorky. Some productions were successful, while others were less so.
Fridman also played an important role in discovering new acting talent. He introduced actor Igor Danyushin to the Samara theater audience in the play “Four Girls and a Strange Character,” and later in another production about a character named Shishka.
During this period, new actors joined the company, including Yuri Zemlyakov, Lyubov Kovyrshina, Yuri Dolgikh, Vladimir Zimnikov, and Vasily Chernov.
1980s
The 1980s were a challenging period for the Theater for Young Audiences. For nearly four years, the theater did not have a permanent stage and had to perform at various venues across the city and the surrounding region.
During this time, the theater активно collaborated with guest directors. Among the productions of this period were “A Humanoid Is Flying in the Sky, or Yet It Moves” by A. Khmelik and “Tomorrow Was the War” by Boris Vasilyev, both staged by M. Karpushkin. A. Zolotukhin directed “The Robbers” by Friedrich Schiller, M. Bychkov staged “The Two Maples” by Evgeny Schwartz, S. Mitin directed “The Tale of Peter Munk and His Heart,” and A. Droznin staged “Mowgli” based on Rudyard Kipling.
Several productions staged by A. Simkovich, Honored Artist of the Russian Federation, remained in the repertoire for many years and were especially popular with young audiences. These included “The Adventures of the Brave Kikila,” “The Little Humpbacked Horse,” and “My Village Beyond the River.”
Director A. Bolotov worked on a number of productions, including “Blow, Little Wind” by Rainis, “The Cat That Walked by Himself” by Rudyard Kipling, “Emelya’s Luck” by V. Novatsky and R. Sef, and “The Song about Division Commander” by V. Razumnevich and V. Molko.
A young actor, Yuri Zemlyakov, became especially popular with audiences after performing the role of Heracles Zharikov in the play “Cocoon” by E. Chebalin (directed by V. Ivanov).
In 1982, V. Muravets was appointed chief director of the theater. His first production in this role was “Chaadayev’s Candlestick” by G. Polonsky. This was followed by productions such as “The King Stag” by Carlo Gozzi, “A Salute to the Dinosaurs!” by G. Mamlin, and “The Eternal Alive” by Viktor Rozov.
During this period, new actors joined the company. Their names began to appear in theater programs, including T. Dymova, G. Zhukova, M. Romanenko, A. Berdnikov, M. Shilova, L. Ilyasova, A. Popov, and E. Terekhov. Later, Eduard Terekhov became the youngest actor in the history of the Kuibyshev Theater for Young Audiences to receive the title of Honored Artist of the Russian Federation.
1990s
In 1990, the Theater for Young Audiences opened its 60th anniversary season in a newly reconstructed building, which had previously been the “Timurovets” cinema. From this moment, a new stage in the theater’s history began under the name SamArt.
During the early 1990s, the theater actively produced new performances that attracted significant public attention. Alongside children’s fairy-tale productions directed by A. Simkovich, the repertoire expanded to include works aimed at adult audiences. These included “The Dragon” by Evgeny Schwartz (directed by A. Droznin) and the folk opera “Klopus Normalis” (directed by A. Bolotov).
The arrival of Honored Artist of Russia Lyubov Albitskaya made it possible to stage more complex and experimental works. One such production was “Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad” by Arthur Kopit, which combined philosophical depth with an unconventional theatrical form.
One of the most important achievements of this period was the production of “Memorial Prayer” by Grigory Gorin. Staged in 1992 by A. Droznin, this performance marked the beginning of a creative collaboration between the theater and the outstanding actor Nikolai Mikheev, People’s Artist of the USSR. He played the role of Tevye. Other leading roles were performed by L. Albitskaya, E. Terekhov (Perchik), Yu. Dolgikh, I. Danyushin, and A. Simkovich.
The production was successfully presented at the festival “Samara Theaters in Moscow” in November 1993. Shortly afterward, Nikolai Mikheev passed away, but the performance remained in the repertoire. In later years, the role of Tevye was performed by well-known actors such as Vladimir Steklov and Oleg Sviridov, while other roles were played by actors including A. Abdulov and O. Shkolnik.
The theater continued its active development. A new production of “Romeo and Juliet” was staged and attracted renewed interest from audiences. Director A. Bolotov presented an unconventional interpretation of Shakespeare’s tragedy. This production became a turning point in the career of E. Terekhov (Romeo) and allowed actresses O. Agapova and M. Shilova (Juliet) to fully demonstrate their talent.
Another notable production was “Hamlet,” directed by the British director A. Ramsey. The performance stood out for its innovative сценография by I. Kokhan. The stage design featured a semi-abstract open structure made of aluminum and plexiglass. The production also combined historical elements with a modern, rock-inspired visual style.
The theater’s international connections also expanded. Actors Yu. Dolgikh and Yu. Zemlyakov took part in a production of “The Canterbury Tales” by Geoffrey Chaucer as members of a British theater company. At the same time, the Dutch director R. Tweinstra staged the play “Heartbeat” at SamArt. This production was presented at a festival in Freiburg (Germany) and later, in 1998, at the Avignon Festival in France.
A new phase in the theater’s development began with the collaboration between director Sergey Sokolov and the renowned theater director Adolf Shapiro, People’s Artist of Latvia. After becoming familiar with the theater and its work, Shapiro accepted an invitation to collaborate.
As part of this collaboration, a major transformation of the theater space was carried out. Based on a project by Moscow architect and designer Yury Kharikov and the artistic concept of Shapiro, the traditional auditorium was redesigned into a flexible, transformable performance space. The stage action could take place anywhere, and the audience was placed in close proximity to the performers. At that time, there was no equivalent space of this kind in Russia.
On April 28, 1997, an important cultural event took place in the city. The first premiere in the newly redesigned SamArt was “Bumbarash,” directed by Adolf Shapiro with сценография by Yury Kharikov. The production was nominated for the National Theater Award “Golden Mask” in three categories: Best Performance, Best Director, and Best Set Design. It received the award for set design.
During the 1990s, the theater also developed a productive collaboration with director Georgy Tskhvirava. He staged productions such as “Kolobok”, “The Blue Monster”, “The Adventures of Buratino in the Land of Fools”, and “The Blacksmith Vakula’s Stories, or Evenings on a Farm near Dikanka.”
New actors joined the company during this period, including O. Agapova, D. Dobryakov, I. Rudakov, V. Maksimova, and O. Metlinova. Graduates of a special course led by M. Karpushkin at the Institute of Culture also joined the theater, including A. Mezhenny, S. Makarov, V. Lvova, and T. Mikhailova. Composer and head of the music department V. Tonkovidov also became part of the team.
21st Century
2000s
At the beginning of the new century, Adolf Shapiro staged his second production at SamArt. “Mother Courage” with Roza Khairullina in the leading role, became a winner of the national theater award Golden Mask. Once again, the Samara Theater for Young Audiences received the country’s highest theater prize for set design, created by Yury Kharikov.
For the first time, the theater staged a play by contemporary Russian writer Yevgeny Grishkovets. The production of “Notes of a Russian Traveler” was directed by Vladimir Steklov, People’s Artist of the Russian Federation.
During this decade, director Alexander Kuzin continued his collaboration with SamArt. Over these years, he staged seven productions: “A Woman as a Gift”, “The Lower Depths”, “A Very Simple Story”, “Vasili Tyorkin”, “People Live Here”, “The Government Inspector”, and the children’s production “Lucky Hans.”
Another director who became an important part of the theater’s work was Anatoly Praudin. In the later years of the decade, he staged “Talents and Admirers” by Alexander Ostrovsky, “The Forged Coupon” based on Leo Tolstoy in an adaptation by N. Skorokhod, “Hello, Ray!” and “The Seagull” by Anton Chekhov.
During the same period, two productions from SamArt’s repertoire gained recognition as festival performances. “Palimpseston, or One Rotation of a Performance Around Its Axis” by Konstantin Bogomolov and “Lucky Hans” by Alexander Kuzin were presented at more than twenty Russian and international festivals.
During these years, SamArt toured widely, performing in Berlin, twice in South Korea and Japan, as well as in Estonia, Croatia, Ukraine, Iran, Bulgaria, Austria, and France.
The large-scale musical production “Dandelion Wine” (directed by Mikhail Kislyarov) was invited to the National Festival of Musical Productions “The Musical Heart of Theater”, where it received an award for Best Play.
Together with playwright Mikhail Bartenev, SamArt also carried out a successful project dedicated to the well-known director and actor Ray Nusselayn and to children’s theater in general. As part of this project, three children’s productions were created: “Lucky Hans” (written by Bartenev), “Once There Lived Hercules” (written by Bartenev and directed by the Estonian director Aare Toikka), and “Hello, Ray!” based on material from productions by Nusselayn.
Since 2006, SamArt has organized the creative laboratory “Young Directing: Performance for Children.” Each year, students and recent graduates of theater schools from across Russia come to the Samara Theater for Young Audiences to create short productions for children based at SamArt. Their work is then evaluated by critics and theater scholars, who help talented participants begin professional careers.
Several productions created by graduates of this laboratory later entered the permanent repertoire of SamArt. These included “Leo Tolstoy’s Alphabet” by Yury Alesin and Yevgeny Zimin, “Little Red Riding Hood” by Polina Struzhkova, “About the Longest Worm” by Dmitry Isaichev, and “The Phoenix Bird Returns Home” by Vera Popova.
During this decade, the theater also organized six editions of the All-Russian Festival of Theaters for Children and Youth “The Golden Turnip.”
2010s
In the new decade, SamArt once again took part in the National Theater Festival Golden Mask. This time, Anatoly Praudin’s production “The Forged Coupon” was nominated for Russia’s highest theater award. Another of Praudin’s productions, “Hello, Ray!” was invited to festivals in Denmark, Yekaterinburg, Novy Urengoy, St. Petersburg, Novosibirsk, and the Perm region.
SamArt’s production “Girls” based on stories by Lyudmila Ulitskaya and directed by Olga Agapova, was presented at a festival in France. Meanwhile, “Leo Tolstoy’s Alphabet” and “Palimpseston” were shown at the international theater forums Kijimuna Festa and Ricca Ricca Festa in Japan.
For two consecutive years, SamArt participated in the Golden Mask special program Children’s Weekend, presenting the productions “Lucky Hans” and “The Little Guard Dog.”
In 2011, Honored Artist of the Russian Federation Alexei Simkovich, a longtime actor of SamArt, celebrated his 80th birthday. To mark the occasion, the theater premiered “Last Love” directed by Boris Granatov.
In this decade, SamArt also presented a renewed version of one of its landmark productions, “Mother Courage” this time with Olga Agapova in the title role.
As part of celebrations marking the 160th anniversary of the Samara region, the Samara Theater for Young Audiences organized the theater festival “160 Characters.” Its program included leading productions by both professional and amateur theaters from across the region.
The magazine Forbes included SamArt in its list of “10 Provincial Theaters You Must Visit.” The article described SamArt as a favorite of Samara audiences, but also as a source of pride for city goverment. It noted the major reconstruction of the theater building and the inclusion of social housing for actors within the complex.
In 2012 and 2013, the theater received the city audience award Bravo! in the category Favorite Theater of the City.
With Alexander Kuzin’s production “The Life of an Actor” SamArt took part in the federal cultural project Russia Encore. Radio Russia recorded a radio adaptation of the production and broadcast it nationwide.
In 2015, actor Pavel Markelov became the theater’s artistic director. He also staged two productions at SamArt: “Romeo and Juliet” and “The Brave Hare.”
At the same time, Anatoly Praudin established a directing workshop based at the theater. Among its graduates were actors Olga Agapova, Dmitry Dobryakov, Pavel Markelov, and later Alexey Elkhimov and Tatiana Naumova. Over the years, the workshop produced a number of experimental projects, including “Children of the Sun”, “Little Tragedies”, “Odyssey”, and “My Life.”
The most important event of the decade took place in 2019, when the Samara Theater for Young Audiences opened its New Stage with Alexander Kuzin’s production of “Woe from Wit.”
The new auditorium seats 388 spectators in retractable telescopic seating, and performances can take place anywhere within the space.
Soon after the opening, the New Stage hosted premieres of “Ivanov” by Anton Chekhov, directed by Anatoly Praudin, and “The Threepenny Opera” by Bertolt Brecht, directed by Dominik Buttner.
During the 2010s, the directing and choreography duo Tatyana Naumova and Pavel Samokhvalov also worked successfully at the theater. Ten productions created by them entered the repertoire. Their production “Mowgli” was named Best Production of the Season at the Samara Theater Muse–2018 awards and was later presented in Sevastopol, Ufa, Minsk, and Japan.
Over the decade, productions of various genres were also staged at SamArt by directors Erik de Sarria, Boris Granatov, Vladimir Bogatyrev, Evgeny Zimin, Nina Chusova, Alexandra Mamkaeva, Evgeniya Nikitina, Evgeniya Berkovich, Ekaterina Gorokhovskaya, Daniil Beznosov, Artem Ustinov, and Irina Kondrashova.
2020s
During the COVID-19 pandemic, when audiences and actors were in self-isolation, SamArt streamed archived performances online, allowing viewers to remain connected with the theater during lockdown.
The first premiere of the new season was “The Marriage of Balzaminov” by Nina Chusova.
The theater also moved several of its leading productions to the New Stage. Each summer, it regularly performs at the increasingly popular VolgaFest and participates in the federal touring program Big Tours, including visits to Ufa and Novosibirsk.
In 2023 Denis Khusniyarov became the artistic director of SamArt.
At the same time, playwright Mikhail Bartenev launched the project Sketch Theater. In the experimental foyer space, actors perform short productions developed during the theater’s young directors’ laboratory.
The production “An Ordinary Miracle” (directed by Dmitry Belov, with set design by Yury Kharikov) received the award for Best Set Design at the festival and national prize The Musical Heart of Theater.
During this period, productions at SamArt were staged by Denis Khusniyarov, Galina Zaltsman, Murat Abulkatinov, and Darya Borisova.