The choice of the "Kremlin Chimes" for the repertoire is quite understandable, although the theater took a creative risk by entering into competition with the best theatrical companies in the country. The situation was more complicated with the selection of other Soviet plays. The theater constantly had dozens of new works in its portfolio. Which ones should be selected? Which play has the right to stage adaptation first?
V. Rozov's play "In Search of Joy" appeared on the stage of the Russian Theater named after N. K. Krupskaya simultaneously with Moscow theaters. They did not wait for the play to be tested in capital companies but immediately took on a work that had already attracted the attention of actors and directors during its first reading.
In search of a good Soviet play that would also yield full box office receipts, the theater did not take the easy and profitable path of widely using family and domestic plays that filled the repertoire of some entertainment enterprises.
One of the experiments in this direction was the staging of the play by local playwrights V. Shvemberger and Ya. Sokolovsky "The Love of Mikhail Astakhov." In it, the authors sought to resolve a number of moral and ethical questions. The merits of this play include its simple and good language and the ability to master intrigue. However, due to the superficial depiction and schematic nature of some characters, the play did not remain in the repertoire for long.
The theater made the right decision by including L. Slavin's play "Intervention" in its repertoire for the fortieth anniversary of October. Without delving into an evaluation of the performance, which turned out to be controversial in some aspects, it should be noted that this heroic play, which revived the days of the Civil War, adorned the theater's poster.
"Six Loved Ones" and "A Little House on the Outskirts" by A. Arbuzov, "When the Acacia Blooms" by N. Vinnikov, "The Mother of Her Children" by A. Afinogenov—this is an incomplete list of works by Soviet authors that were staged at the theater. There is hardly any need to engage in arithmetic calculations to determine the share of plays about the recent past in the entire repertoire. What is important is that the theater persistently sought new works, connected with playwrights, and invested particularly much effort and energy in staging plays by Soviet authors. There were both victories and defeats on this path, but the orientation is correct.
The traditions of the Moscow Art Theater school, which have a strong influence on the theater's activities, remain unbreakable. The search for life truth, the great principles of Stanislavsky, which form the basis of all work with actors, have determined the creative path of the theater. Therefore, work on the works of Russian and world classics has been and remains the most important part of the overall plan.
From the very first years of its existence, the theater paid much attention to the dramaturgy of Gorky: "Enemies," "Vassa Zheleznova," "The Lower Depths." The staging of the play "The Lower Depths" in 1949 is among the most significant Gorky performances on stage. Luka, played by A. G. Balayev, was particularly memorable. The artist convincingly exposed the "consolation" of his character in full accordance with Gorky's intent.
The staging of plays such as "The Living Corpse" by L. N. Tolstoy, "Tsar Fyodor Ioannovich" by A. K. Tolstoy, and "A Month in the Country" by I. S. Turgenev had an undeniable influence on the creative life of the theater.
In "The Living Corpse," the talented actor M. Shteinberg successfully performed the role of Protasov, while the role of Tsar Fyodor Ioannovich was masterfully played by the artist V. F. Kazakov, People's Artist of the Kirghiz SSR.
