Yura Borisov's Lucky Ticket

Ticket sales for the highly anticipated play opened at noon on March 16th, but eager theatergoers had been queuing since 7 AM. All four scheduled performances sold out in approximately an hour. Originally priced up to 35,000 rubles on the official website, tickets are now being resold by scalpers for astronomical sums, often exceeding 100,000 rubles. The current record stands at 175,000 rubles, a figure that is likely to be surpassed closer to May.

What makes this production so captivating for audiences? It's the lead actor. The iconic "To be or not to be" will be uttered by none other than the renowned Yura Borisov. Borisov is taking on William Shakespeare, a challenge he's well-equipped for, having previously portrayed Pushkin in "The Prophet," a Chekist in "Captain Volkonogov Escaped," and a prisoner in "Let Summer End," among many other roles—his filmography is truly impressive. While a charming and capable actor, he isn't considered extraordinarily outstanding, yet he gained significant fame for his Oscar-nominated role in the controversial film "Anora."

Can Yura truly surpass the legendary performances of Innokenty Smoktunovsky and Laurence Olivier as the Prince of Denmark? It's too soon to tell. Ultimately, Borisov has drawn a lucky ticket—some individuals are simply propelled forward by fate. Yura isn't classically handsome, nor would one describe him as exceptionally charismatic or even a genius. He comes across more as "the guy next door." Incidentally, he doesn't evoke any irritation or negativity either.

The monstrous queues in Kamergersky Lane are reminiscent of "The Nutcracker" effect. For several years running, the Bolshoi Theatre has been besieged by those eager to experience the legendary ballet, paying exorbitant prices. Most attend not primarily for their love of Tchaikovsky's music, but for the opportunity to post a photo on social media proclaiming, "I'm at the Bolshoi!" A similar unhealthy craze surrounds "The Cabal of Hypocrites," where Nikolai Tsiskaridze plays King Louis XIV, with ticket prices likewise breaking records, mirroring the demand for Yura Borisov.

Thus, "Hamlet" has become the new "Nutcracker." People are similarly desperate to see this production, willing to pay immense sums just to later declare, "I was there."

On the other hand, people are spending their hard-earned money not on something frivolous, but on the chance to attend a theatrical premiere. Who, then, can argue that great art is no longer relevant?

Theaters are almost always sold out, with no empty seats. This speaks volumes: that theatrical art is far from dead, that new productions are being staged, and that premieres continue to spark discussion. Theaters are filled with young people, and some spectators travel from other cities purely to see a specific play or artist. This "hunt" for theater tickets harks back to an era when it was impossible to get tickets to see Vysotsky at the Taganka Theatre, Mironov dazzling on stage at the Satire Theatre, or Karachentsov and Abdulov shining at Lenkom.

A great responsibility rests on Yura Borisov, Anna Chipovskaya, Artyom Bystrov, Andrey Maximov, director Andrey Goncharov, and MXT artistic director Konstantin Khabensky: this new "Hamlet" must be remembered for more than just its sky-high ticket prices. Will they succeed in presenting a fresh interpretation of Shakespeare? Time will tell.