After the war, the theater troupe was joined by new actors. By this time (1945—1956), the core of the ensemble had fully formed, which largely defined the creative face of the theater. This includes the chief director M. M. Malamud, and the actors V. F. Kazakov, K. A. Guryeva, A. F. Kuleshov, O. D. Dussan, E. V. Zhenin, G. G. Karkotsky, T. P. Artamonova, V. P. Sobolev.
An interesting project during this time was the work on K. Djantoshev's play "The Singer of the People" ("Toktogul") translated by V. Solovyov. The image of Toktogul is the most beloved among the Kyrgyz people. The theme of friendship between the Russian and Kyrgyz peoples, which runs like a red thread throughout the drama, resonates here with particular strength. The portrayals of Toktogul himself and his mother Burma were vivid and made a significant impression on the audience.
The tragic fate of the great folk akyn, his struggle with the nobleman manaps, his exile and escape from Siberia — all these thrilling episodes made the development of the action swift and captivating for the viewers.
The work on the play by the Kyrgyz playwright undoubtedly enriched the theater. Living and working in a national republic, the actors naturally sought to learn more fully and deeply about the life of the Kyrgyz people and to reproduce it on stage. Equally, the high demands of the theater collective on the text compelled the playwright and translator to reconsider much in the interpretation of characters and dialogues. In the process of working on the text of the play, the theater and the playwright aimed to more clearly show the theme of friendship between the Kyrgyz and Russian peoples, and to outline the characters more distinctly.
N.S. Aleksandrova, K.V. Kozmenko, V.P. Sobolev
A significant milestone in the history of the theater was the production of "The Family" by A. Popov in 1950. This play features a young Lenin and depicts the Ulyanov family. The theater took on the challenging task of recreating these images. Based on this material, the theater was to showcase the noble characteristics of the Ulyanov family, reflecting the typical traits of progressive Russian people. All possibilities inherent in the dramatic material for this purpose were utilized. The spiritual kinship between mother and son (played by K. A. Guryeva and F. Kazakov), the upbringing of the son, and conversely, the influence of the strong, determined character of the son on the actions of Maria Alexandrovna became the main focus of the performance. "Do not ask, but fight," says Volodya to his mother as he sends her on her way. K. A. Guryeva subtly and simply portrayed the high human dignity of the citizen mother, her will, and her growing courage.
In the performance, it was clear to see how Lenin's will strengthened and his intellect developed. At the beginning of the play, Volodya is still contemplative; he is merely accumulating impressions and observing. He is quite different after his mother's return from Petersburg. Volodya has matured, become more severe. He understands everything. "The worst has happened," he says almost affirmatively. The pause that follows these words and his mother's response made a strong impression on the audience, as it was filled with emotion and thought.
"The Family" is a performance of great political maturity and high emotional intensity. The theater invested a lot of passion and strength into this production.
The theater aimed to stage more plays by Soviet playwrights. This section of the repertoire received the most energy. "Come to Zvonkovoye," "The Law of Honor," "The Russian Question," "The Break," "Under the Chestnuts of Prague," "Makar Dubrava," "Wedding with a Dowry," "Life Begins Again," "Behind the Second Front," "The Director" — these are just a few Soviet plays staged during this period.
A lively sense of modernity was manifested, in particular, in the production of S. Aleshino's play "The Director." The image of the director of a large factory, Stepanov, was convincingly embodied on stage by A. F. Kuleshov. Stepanov, in his portrayal, is a truly significant figure, completely absorbed in his great task. At the same time, he is a living person with a complex and nuanced personal life.
The theater understood B. Lavrenev's play "The Break" as a folk-heroic drama. The main characters in the performance became revolutionary sailors. Godun, played by V. Kazakov, is a true Bolshevik, persistent and strong-willed; one can clearly sense the inquisitive mind of a person who knows much about life and people, striving to know even more and deeper. The excellently crafted image of Captain Bersenev (A. F. Kuleshov) remained in the audience's memory for a long time. Reserved, always self-possessed, a true patriot, Bersenev invariably evoked sympathy from the audience. The performance was vibrant and solidly executed by the entire cast.
N.I. Mozgunova, T.A. Varnavskih, M.A. Sumorin
A special place in the repertoire is occupied by works dedicated to exposing the arsonists of war. High political pathos and sharp satire are characteristic of such performances as "The Russian Question," "Voice of America," "The Conspiracy of the Doomed," "Two Camps."
Good taste and sharpness of form distinguished the performances of that time, such as "He Came" by Priestley. This very peculiar play by the English playwright, built on very subtle and unexpected psychological twists, spoke volumes to the audience, revealing the corruption of modern bourgeois society.
One could name several other performances staged between 1946 and 1951. Despite their stylistic diversity, they were united by a high theatrical culture and a correct understanding of the ideological essence of the works.
However, not every interpretation could be agreed upon. In the theater, alongside a fully realistic approach to the stage embodiment of plays, there existed a formalist manner that compensated for the pallor of the actors' performances with external expressiveness. Many viewers were dissatisfied with such performances as "Intrigue and Love," "Yarovaya's Love," "The Ovod," where creative miscalculations led to a rupture between form and content.
Fortunately, the collective was able to quickly address such errors. The joint efforts of the creative team and the vigorous activity of the party organization helped restore in the theater those traditions that had been established and developed since 1935. Starting around 1955—1956, we can rightfully speak of the Russian Drama Theater as a mature creative collective.
It is important to note that significant roles in the development and establishment of the Russian Drama Theater were played by directors such as S. Malyavin, G. Droznese, and actors V. Balaev, K. Yefremova, M. Shteinberg, M. Solovyova, I. Koval-Samborekiy, K. Lungren, and others.
