Tell us about yourself.
Theatre, wine, and kitesurfing — three words that describe me and the life I’ve built around passion, complexity, and depth. While these interests may seem unrelated, they all share a common thread: I’m drawn to things that are multilayered, demanding, and endlessly inspiring.
I was born in Obninsk, Russia and have been performing for as long as I can remember. As a child, I trained in gymnastics, acted in community theatre, and spent summers in pioneer camps. Though I studied in a physics and math-focused school, my path took an unexpected turn — into the world of wine. I fell in love with this art form, studied at the Moscow Sommelier School, and later continued my education in Australia and the United States. Today, I run my own wine club.
But the stage never let go of me. In 2013, I discovered the Michael Chekhov acting technique, and it turned my world upside down. Theatre became essential to my life. I trained at RGISI,, St. Petersburg, Russia (Russian State Institute of Performing Arts), the Michael Chekhov Studio in Moscow, studied under Lenard Petit in Michael Chekhov Acting Studio, New York, and found my true mentor Elena Kuzina.
In 2015, I joined Theatre33, where Marianna Chebotareva saw something in me — a spark, a talent. Since then, I have devoted myself wholeheartedly to this theatre, which has become a sanctuary for both my soul and my creative expression.
What is your earliest memory of wanting to be an actor?
I was five years old, and my kindergarten was putting on a little play. When the roles were handed out, I didn’t get one. I cried for days — I was absolutely heartbroken. Eventually, the teacher sat me down and gently explained that the play only had roles for boys and a single part for a bear… and that there simply wasn’t a role for me to play. I calmed down, but something clicked inside me. I understood, very clearly and deeply, how much it meant to me to be part of a story — to play a role, to be on stage. That moment never left me
Which actor—past or present—do you most admire, and why?
Mikhail Chekhov — the most visionary student of Stanislavski, and, in my eyes, one of the greatest actors and teachers of all time.
His technique changed my life — it gave me a language for everything I’d felt intuitively about the stage.
One of his quotes that deeply resonates with me is:
"The body is the actor’s instrument — but the imagination is the actor’s soul."
What’s the most challenging role you’ve played, and what did you learn from it?
Mary Stuart was the most challenging role I’ve played. Portraying a queen with such emotional depth and inner conflict pushed me to new limits. I had to balance strength and vulnerability, power and humanity.
How do you approach developing a character?
I start by finding the character's energetic center and understanding their psychological type and archetypes. I often walk the streets, observing people to spot traits similar to those of my character. These observations help me shape their physicality and mindset, with the character evolving through rehearsals and interactions.
What’s your process for preparing for a role, from first read to opening night?
I start with a deep analysis of the script, thinking a lot about my character’s past and what led to the moment I’m playing. During rehearsals, I try different variations to see what works best and discuss my choices with the director. By the time we’re close to the performance, I’m not only focused on my own role but also on everything happening around it, keeping the entire picture in focus.
Do you have any pre-show rituals or superstitions?
Yes, I always do a warm-up before the show.
How do you handle stage nerves or performance anxiety?
Warm-up and squats.
How do you memorize lines and stay in character throughout a performance?
I don’t focus on memorizing the text itself; instead, I focus on the actions — what needs to happen, what I want to achieve in each moment. The lines naturally fall into place as the events unfold. By staying connected to the character’s objectives, the words come effortlessly as part of the story.
Have you ever had a major on-stage mishap? How did you recover?
Yes! Once, during a performance, one of the main actors didn’t show up — with no warning. We had to improvise on the spot: we restructured the scenes, started referring to his character in the third person, and quickly redistributed his lines among the rest of us. It was chaotic, but somehow, we pulled it off. Moments like that really remind you of the power of ensemble and staying present.
What’s the most unforgettable moment you’ve experienced on stage?
The first time I truly felt the right flow of energy — it was unforgettable. It was almost physical, like a magnetic force moving through me. I could feel myself completely in control of the space, the audience, the rhythm of the scene. It was as if I had become the puppeteer of everything happening on stage. Pure magic.
What’s a dream role you’d love to play one day?
Lady Macbeth.
What’s the biggest lesson theatre has taught you?
That it takes real courage to admit when you're wrong. Theatre constantly challenges the ego, and true growth happens when you stay open, humble, and willing to start again.
How do you balance rehearsals, performances, and the rest of your life?
I don’t. They’re never in balance — and maybe that’s the beauty of it.
What advice would you give to someone new to acting?
Go beyond your limits — always. Push past what you think you can do, and you’ll be amazed at what you’re truly capable of.
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