
Boris Godunov
Written by Alexander Pushkin
Performed in Russian
2000–2010
During the ‘Time of Troubles’ in Russia, the Tsar battles to suppress a dangerous impostor and his own conscience. Boris Godunov has gained power through bloody means – the murder of young prince Dimitri, son of Ivan the Terrible.
From ballrooms to battles, Pushkin’s lyrical masterpiece is a compelling exposé of the seductive appeal of power and the price that must be paid for it. Money, corruption, sex and blood thicken this sinuous and radical play, inspired by Shakespeare’s histories.
The first performance of this production was at Moscow Art Theatre on 15th June 2000.
A co-production between the Chekhov International Theatre Festival and Avignon Theatre Festival with the support of the European Association “Theorem”, Brighton Festival and La Filature, Mulhouse, France; in association with Cheek by Jowl
Additional support from the British Council, Moscow, British Embassy, Moscow, Ministry of Culture of the Russian Federation and Department for Culture of Moscow.
“Tremendous and stirring… a splendid, bursting, mighty themed epic”
The Independent
Cast
| Name | Character |
|---|---|
| Alexey Dadonov | Gavrila Pushkin / Shcheklalov, the Duma Scribe |
| Alexander Feklistov | Boris Godunov |
| Irina Grineva | Marina Msnishek |
| Ilia Ilin | Prince Vorotynsky / Russian Prisoner |
| Nikolay Khmelev | Father Varlaam / Karela the Cossack |
| Olga Khokholva | Owner of the tavern |
| Leonid Krasovitsky | Poet |
| Andrei Kuzichev / Evgeny Mironov | Grigori Otrepyev |
| Evgeny Plekhanov | Sobansky / Bailiff |
| Dmitry Shcherbina | Semyon Godunov / Prince Kurbsky |
| Oleg Vavilov | Patriarch / Yuri Mnishek |
| Igor Yasulovich | Pimen / Pushkin |
| Elena Zakharova | Tsarevna Xenia |
| Mikhail Zhigalov | Father Superior / Chief Bailiff / Catholic Priest / Basmanov |
Creative Team
| Role | Name |
|---|---|
| Director | Declan Donnellan |
| Designer | Nick Ormerod |
| Lighting Designer | Judith Greenwood |
| Music Director | Maxim Gutkin |
| Choreographer | Irina Filippova |
| Interpreter / Literary Consultant | Dina Dodina |
| Assistant Director | Evgeny Pisarev |
| Assistant Director | Anna Kolesnikova |
| Technical Director | Vladimir Kizeev |
| Stage Manager | Ekaterina Cheremina |
Previous Performances
| Date | Location |
|---|---|
| 9–16 November 2010 | Sceaux, Les Gémeaux, Paris, France |
| 22–26 July 2009 | New York City, The Armory, USA |
| 27–29 November 2008 | Bucharest, Romania |
| 13–17 May 2008 | London, Barbican, UK |
| 6–10 May 2008 | Coventry, Warwick Arts Centre, UK |
| 29 April–3 May 2008 | Salford, The Lowry, UK |
| 29 November–2 December 2007 | Hong Kong, Cultural Centre Studio Theatre, Hong Kong |
| 5–6 August 2006 | Rio de Janeiro, Fundição Progresso, Brazil |
| 28–30 July 2006 | São Paolo, SESC Pompéia, Brazil |
| December 2005 | Brussels, Belgium |
| June 2004 | Moscow, Russia |
| February 2004 | Saint Petersburg, Russia |
| October – November 2003 | Ann Arbor, Michigan, USA |
| October – November 2003 | Tempe, Arizona, USA |
| September 2003 | Berlin, Germany |
| November 2002 | Saint Petersburg, Russia |
| November 2002 | Riga, Latvia |
| April 2002 | Bogotá, Colombia |
| March – April 2002 | Caracas, Venezuela |
| 8–16 February 2002 | Sceaux, Les Gémeaux, Paris, France |
| February 2002 | Mulhouse, France |
| November 2001 | Créteil, France |
| 23–26 August 2001 | Zurich, Festival Theater–Spektakel, Switzerland |
| July 2001 | Avignon, France |
| June 2001 | Warwick, UK |
| June 2001 | London, UK |
| June 2001 | Amsterdam, Netherlands |
| May 2001 | Newcastle, UK |
| May 2001 | Brighton, UK |
| April 2001 | Moscow, Russia |
| February 2001 | Pushkinskie Gory, Russia |
| October 2000 | Ekaterinburg, Russia |
| October 2000 | Chelyabinsk, Russia |
| 15 June 2000 | Moscow, Moscow Arts Theatre, Russia |
Reviews
“A transcendent tale of all too earthly power. A sharp, rare double vision – of visceral intimacy and cosmic distance”
Ben Brantley, The New York Times
“Extraordinary”
Michael Billington, The Guardian
“Forceful fluidity… Vivid imagery… A rare moment of potent emotional immediacy.”
Sam Marlowe, The Times
“In a thrilling modern-dress version, it emerges as a mordant commentary on the instabilities of power and the repetitive nature of tyranny, and it crackles with edgy, topical relevance.”
Paul Taylor, The Independent
“100% proof theatre”
Izvestia, Moscow



















“A thrilling vision of Pushkin’s young masterpiece staged with breathtaking panache”
The Guardian
Everything includes itself in power.
Troilus and Cressida, Act I, Scene iii










































