Theatre: Ivano-Frankivsk National Academic Drama Theater named after Ivan Franko, Ivano-Framkivsk, Ukraine
Genre: Dramma per musica

By William Shakespeare, translated by Yurii Andruhovych
Dramma per musica “ROMEO & JULIET” is a post-apocalyptic version of Shakespeare’s saddest tragedy in an experimental format. The love story of the pure hearts of Romeo and Juliet in the corrupt post-apocalyptic Verona.

Creative Team
Director – Rostyslav Derzhypilskyi
Composers – Roman Hryhoriv, Ilia Razumeiko
Artist – Yuliia Zaulychna
Plastic solution – Olha Semioshkina

Cast
Oleh Panas – Romeo Montecchi
Inna Bevza – Juliet Capulet
Oleksii Hnatkovskyi – Brother Lorenzo
Olha Komanovska – Juliet’s Nurse
Ihor Zakharchuk – Señor Montecchi, Romeo’s Father
Myroslava Polataiko – Signora Capulet, Juliet’s Mother
Yurii Khvostenko – Senior Capulet, Juliet’s Father
Andrii Melnyk – Paris
Yurii Vykhovanets – Tybalt, Juliet’s Cousin
Ivan Blindar – Mercutio, Romeo’s Friend
Maria Stopnyk – Erynia
Nadiia Levchenko – Erynia
Olesia Pasichniak – Erynia
Viktor Abramiuk, Vladyslav Demydiuk, Oleh Derkach, Bohdan Romaniuk, Ostap Sloboda, Mykola Slyvchuk – Monks

Official Opening of the Festival.

Summer Theatre Studies School:
"Reviewing Performances – Writing Theatre History" as part of the Shakespeare Festival in Ivano-Frankivsk, under the auspices of the Ivano-Frankivsk Drama Theatre and curators:
🔹 Professor Nicoleta Cinpoeş – Shakespeare scholar (University of Worcester, UK)
🔹 Associate Professor Sofiia Rosa-Lavrentiy – Theatre scholar (Ivan Franko National University of Lviv)
📝 The School is organized in partnership with the Department of Theatre Studies and Acting at Ivan Franko National University of Lviv. Thanks to the university, the festival can provide certificates of additional education.

About:
Who today rereads the dramatic texts of William Shakespeare? Who truly knows their intricacies and remembers the characters? In reality, apart from Shakespeare scholars and translators, very few. Over the past century and a half, the number of Shakespeare readers has drastically declined, while the number of his “experts” has skyrocketed. Shakespeare is now everywhere: in media, entertainment, advertising, pop culture, mass market, and political discourse. Who and when launched the “Shakespearization” of the world, sparked by the formula “All the world’s a stage”? There is no short answer, but it’s clear that the avant-garde played a key role in bringing Shakespeare down from the high shelves to the comedic series Black Adder. This is the focus of the lecture "The Avant-Garde Sets Shakespeare Ablaze."
About the Speaker:
Hanna Veselovska is a professor, Doctor of Sciences, and head of the Theatre Studies Department at the Institute of Contemporary Art Problems (Kyiv). She is the author of monographs such as "Theatrical Crossroads of Kyiv 1900–1910s. Kyiv Theatrical Modernism" (2006), "Ukrainian Theatrical Avant-Garde" (2010), "The Theatre of Mykola Sadovsky (1907–1920)" (2018), "More Than Theatre. The Ivan Franko National Academic Drama Theatre. 2001–2012" (2019), "Mykola Sadovsky: Actor, Director, Impresario. 1856–1906" (2024), and over 200 scholarly articles in Ukrainian, Russian, Slovak, Polish, German, and English. She is a member of the Taras Shevchenko National Prize Committee of Ukraine and has served for 7 years as an expert for the GRA festival-award.

Theatre: Kyiv Academic Drama Theatre on Podil, founded by Vitaly Malakhov
Genre: Drama
Conversations аfter а рerformance of Macbeth in the Ukrainian сountryside on September 5th 1920.

In 1920, thirty-two-year-old Les Kurbas (the founder of the modern Ukrainian theatre), takes a group of young actors out of war-torn Kyiv into the countryside where they will perform plays, bartering tickets for food. One such play is Macbeth, the first Shakespeare production ever in Ukrainian.

While Kurbas and most of the company attend a show by a local theater company performed in their honor, six young women, four actresses, a pianist and a dancer stay behind with their children. Over a meal which they cook from the proceeds of that evening’s show, the young women talk, complain, joke, make fun of themselves, laugh, rehearse dances from the show, all while in pain, heartbroken, lost, scared and with a need to be together.

Creative Team
Director – Richard Nelson
Set and costume design – Maria Pogrebnyak
Music – Richard Nelson, Timur Polyanskiy
Choreographer – Charlotte Bydwell
Light – Sergey Nevgadovsky
Sound – Sergey Shevchenko
Assistant director – Vladylav Tsekhmeystruk, Milada Samoilova, Arman Saribekyan

Cast
Kateryna Chikina – Valentina Chistyakova
Maria Demenko – Lyubov Hackebusch
Yulia Brusentseva – Vira Onatska
Natalia Kobytska – Bronislawa Nijinska
Maria – Olena Korzeniuk
Maria Kos – Olena Galitsynska

Theatre: Kyiv Academic Drama Theatre on Podil, founded by Vitaly Malakhov
Genre: Drama
Conversations аfter а рerformance of Macbeth in the Ukrainian сountryside on September 5th 1920.

In 1920, thirty-two-year-old Les Kurbas (the founder of the modern Ukrainian theatre), takes a group of young actors out of war-torn Kyiv into the countryside where they will perform plays, bartering tickets for food. One such play is Macbeth, the first Shakespeare production ever in Ukrainian.

While Kurbas and most of the company attend a show by a local theater company performed in their honor, six young women, four actresses, a pianist and a dancer stay behind with their children. Over a meal which they cook from the proceeds of that evening’s show, the young women talk, complain, joke, make fun of themselves, laugh, rehearse dances from the show, all while in pain, heartbroken, lost, scared and with a need to be together.

Creative Team
Director – Richard Nelson
Set and costume design – Maria Pogrebnyak
Music – Richard Nelson, Timur Polyanskiy
Choreographer – Charlotte Bydwell
Light – Sergey Nevgadovsky
Sound – Sergey Shevchenko
Assistant director – Vladylav Tsekhmeystruk, Milada Samoilova, Arman Saribekyan

Cast
Kateryna Chikina – Valentina Chistyakova
Maria Demenko – Lyubov Hackebusch
Yulia Brusentseva – Vira Onatska
Natalia Kobytska – Bronislawa Nijinska
Maria – Olena Korzeniuk
Maria Kos – Olena Galitsynska

About:
"All the world’s a stage," said Will. "Theatre changes the world," added Terry. Two "Shakespearean" Discworld novels are based on two of the Bard’s works that feature plays within plays—"Hamlet" and "A Midsummer Night’s Dream." Discworld creator Terry Pratchett invites the creator of the Globe into his reality to show how words from the stage can change everything around us. Perhaps these changes could be destructive, but among the audience are three prophetic sisters—three witches—who have just stepped away, not from a bubbling cauldron, but from a nearly boiling kettle. Join us to discuss the magic of theatre in Terry Pratchett’s novels, his homage to Shakespeare, and fantasy as a space of cultural memory. For everyone interested in theatre, language, imagination, and Shakespeare in unexpected forms.
About the Speaker:
Yevheniia Kanchura is a PhD in Philology, Acting Head of the Department of Theoretical and Applied Linguistics at Zhytomyr Polytechnic State University, and co-head of the Fantasy Literature Research Center at the T. H. Shevchenko Institute of Literature, NAS of Ukraine. She has studied Terry Pratchett’s works since 2004, authored works on Shakespearean intertext in the Discworld series and on translation studies, and translated fiction, including Maggie O’Farrell’s novel "Hamnet."

Summer Theatre Studies School:
"Reviewing Performances – Writing Theatre History" as part of the Shakespeare Festival in Ivano-Frankivsk, under the auspices of the Ivano-Frankivsk Drama Theatre and curators:
🔹 Professor Nicoleta Cinpoeş – Shakespeare scholar (University of Worcester, UK)
🔹 Associate Professor Sofiia Rosa-Lavrentiy – Theatre scholar (Ivan Franko National University of Lviv)
📝 The School is organized in partnership with the Department of Theatre Studies and Acting at Ivan Franko National University of Lviv. Thanks to the university, the festival can provide certificates of additional education.

"Stage Readings of Shakespeare’s Tragedy Hamlet in Lviv Theatres (1796–1997)"
At the II International Shakespeare Festival in Ivano-Frankivsk
(with participation of the Maya Harbuziuk Foundation, Ivano-Frankivsk Ivan Franko Drama Theatre, Ivan Franko National University of Lviv)
About:
This monograph by Dr. Maya Harbuziuk, Professor at the Department of Theatre Studies and Acting at Ivan Franko National University of Lviv, is the result of many years of research into Ukrainian Shakespeareana. Tracing the continuity of stage interpretations of one of Shakespeare’s greatest tragedies in Ukraine from the late 18th to the late 20th century, the author details the multicultural artistic and theatrical space of Lviv over 200 years. German-speaking Austrian, Polish, and Ukrainian theatres each offered their own vision of "Hamlet," reflecting the cultural maturity of their traditions. The author examines both individual figures who shaped this multicultural dimension and the broader context of mutual influences and intersections among artists and cultures.
Participants:
Sofiia Harbuziuk (Head of the Maya Harbuziuk Foundation)
Nicoleta Cinpoeş (Shakespeare scholar, Professor of Shakespeare Studies, University of Worcester, UK, Council Member of the European Shakespeare Research Association and Shakespeare Festival Network)
Natalia Torkut (Shakespeare scholar, Doctor of Philology, Professor, Zaporizhzhia National University, Head of the Ukrainian Shakespeare Center, Senior Research Fellow at the Shakespeare Institute, University of Birmingham)
Michael Dobson (Shakespeare scholar, Professor, Director of the Shakespeare Institute, University of Birmingham, Stratford-upon-Avon, UK, Honorary Academician of the Academy of Sciences of Higher Education of Ukraine)
Roman Lavrentiy (Theatre scholar, PhD, Associate Professor, Ivan Franko National University of Lviv)
Moderator: Sofiia Rosa-Lavrentiy (Theatre scholar, PhD, Associate Professor, Ivan Franko National University of Lviv)

Theatre: Workshop of Artem Viktorovych Pozniak
Genre: Tragedy

William Shakespeare (translated by O. Hryaznov)
A play whose title surely everyone knows, yet to the question "What is it about?" no one can give a definitive answer. One of the most important stories in Shakespeare’s body of work. What is it about? Power? The eternal conflict between parents and children? Shakespeare’s tragedy raises more questions than it answers. Is there a boundary between good and evil? What is wisdom? How do power and strength affect a person who is both king and father at the same time? And are people capable of appreciating and loving what is given to them freely? The characters of the tragedy, just like the audience, blindly search for answers to questions that perhaps have no answers at all.
16+

Creative Team
Director – Artem Pozniak
Sound Engineer – Tetiana Khomenko
Lighting Designer – Oleksandra Pavlenko

Cast:
King Lear – Denys Ruchko
Goneril – Viktoriia Vanzhura
Regan – Anastasiia Yankova
Cordelia – Violeta Kolpashko
Kent – Nazar Prokopiv
Earl of Gloucester – Yehor Koloturskyi
Edgar / French King – Danylo Markin
Edmund – Oleksandr Hapon
Duke of Albany / Fool – Vladyslav Korinnyi
Duke of Cornwall – Serhii Polehenko
Oswald / Duke of Burgundy – Mykyta Haponov

"Beaumonde on the Edge of Empires: State and Stage in Soviet Ukraine"
(published by Rodovid in partnership with the Center for Urban History of East Central Europe, Lviv)
About:
Today, one of the challenges is rethinking the Soviet past and studying the paradoxical phenomenon of Ukrainian Soviet culture. Historian Mayhill Fowler’s book, first published in English (Toronto, 2017) and now translated into Ukrainian (Rodovid, 2025), recounts the history of the Ukrainian avant-garde. World War I and the revolutions catalyzed artistic experimentation, forging new relationships between artists and visions of the postwar world. The discussion will focus on the relationship between art and political power in the context of the Soviet state—through the formation of the artistic beaumonde and establishment; the ambitious project of creating a new culture that was both modern, urban, and Ukrainian; the emergence of Soviet cultural infrastructure and hierarchies; centrality and peripherality, decentralization, and de-peripheralization of cultural processes; the system of state patronage and control; the uniqueness of theatre as a place of improvisation; and the multilingual, multicultural, and simultaneous nature of 1920s cultural life and its gradual homogenization. Although the focus will be on the postwar years, the discussion will cover the longer chronology of the "Soviet century" and its enduring legacies. Ultimately, the book is about the postwar period and the artists who emerged from destructive war to create innovative art, offering inspiration and ideas for today.

Theatre: Ivan Franko National Academic Drama Theatre
Genre: Tragedy

William Shakespeare
To understand the darkness, you have to become the darkness. And the theatre is the place to do that. That is why here, in this outpost of European civilisation, we are beginning to peer into the abyss of evil through the prism of the story of the dehumanisation of the Scottish king, the usurper of power. Macbeth is the story of a great transformation from a noble knight to a tyrant, a usurper of power. Even the best of men have no protection against the destructive influence of power unlimited by the law. The story of Macbeth's dehumanisation begins with a victory in which the glorious noble commander, under the influence of demonic forces, takes a step towards irreversibility. What is the infernal in human life today? In what forms do demons and witches come to man in a digital society? In our interpretation of the demonic in the life of a modern man, we reject the forms suggested by Shakespeare: the demons of our time live in the digital, in the media and in hybrid warfare. Shakespeare's bearded witch-soothsayers, who predict Macbeth's ascension to the throne, are depersonalised and take on the characteristics of all-seeing robotic entities. These entities, like the Eye of Sauron, are constantly present in the characters' reality and have unlimited power, influencing their actions and shaping their worldview.

Creative Team
Ivan Uryvskyi – director
Petro Bogomazov – set designer
Tetiana Ovsiichuk – costume designer


Cast
Macbeth – Akmal Gurezov
Lady Macbeth – Tetiana Mikhina
Banko – Vitaly Azhnov
Duncan –- Arseniy Tymoshenko
Macduff – Renat Settarov
Malcolm – Pavlo Shpegun
Flins – Rostyslav Lukyanenko
Gaffer 1 – Yana Poceluy
Gaffer 2 – Dima Lukyanenko

‘Performing Macbeth, performing murder: tyranny on stage in the 21st century’, speaker Michael Dobson, Director of the Shakespeare Institute, Stratford-upon-Avon, and Professor of Shakespeare Studies, University of Birmingham.

Summer Theatre Studies School:
"Reviewing Performances – Writing Theatre History" as part of the Shakespeare Festival in Ivano-Frankivsk, under the auspices of the Ivano-Frankivsk Drama Theatre and curators:
🔹 Professor Nicoleta Cinpoeş – Shakespeare scholar (University of Worcester, UK)
🔹 Associate Professor Sofiia Rosa-Lavrentiy – Theatre scholar (Ivan Franko National University of Lviv)
📝 The School is organized in partnership with the Department of Theatre Studies and Acting at Ivan Franko National University of Lviv. Thanks to the university, the festival can provide certificates of additional education.

About:
"A very good piece of work, I assure you, and a merry": The Best Shakespeare There Is?
This presentation provides an overview of significant Shakespeare performances from diverse parts of the world, explaining the convergences and divergences in contemporary Shakespeare performance practices in both the Anglophone and non-Anglophone theatres. Looking at theatrical productions from the perspective of global Shakespeare studies, it will suggest the issues that theatrical ensembles working with Shakespeare can consider in creating their own take on his works. The productions under consideration will cover selected theatrical adaptations from the Global Shakespeare Video and Performance Archive and my private collection, and will be analyzed with a synthesizing insight in mind, while allowing for a discussion on the politics of exceptionality and elite spectating in Shakespeare in performance.

About the Speaker:
Anna Kovalche-Pavlyk teaches literature, theatre, and cultural studies at the University of Łódź, where she is also Deputy Editor of the journal "Multicultural Shakespeare." She co-organizes the International Shakespeare Festival in Gdańsk (Poland) and is President of the Polish Shakespeare Society. She is affiliated with the Center for Humanities and the Center for Translation Studies at Jagiellonian University, where she conducts guest lectures and seminars. She is a member of the British, American, European, and International Shakespeare Societies (BSA, SAA, ESRA, ISA), the Renaissance Society of America (RSA), the International Association for Translation and Intercultural Studies (IATIS), and research groups "Shakespeare in Education" (NTNU, Trondheim) and "Shakespeare in Culture" (University of Warsaw). In 2022, she was elected an Associate Member of the Royal Historical Society (UK), and in 2023, a member of the International Shakespeare Association.

Theatre: Theater-studio of IDPs "UZHiK"
Genre: Tragedy

William Shakespeare
King Lear divides his kingdom among his three daughters, but the youngest, Cordelia, disappoints him, so he gives her share to the other two. The Fool tries in vain to stop the king. The King of France marries Cordelia, and she leaves for France. Lear goes to his eldest daughter Goneril, who asks him to reduce his retinue. Deeply offended, he leaves for Regan. Goneril and Regan unite against their father. Lear refuses to give up his followers and instead goes out into the storm. During the storm, Lear strips off his excess clothing and is left in the wilderness with the Fool, nearly losing his mind. Cordelia returns with the French army to defend her father's honor. The British forces of Goneril and Regan defeat Cordelia's French army. Lear and Cordelia are captured, and she is killed. Regan poisons Goneril and then kills herself. Lear dies mourning Cordelia. Only the Fool remains alive.

"Time will reveal all. And the gods are just, for they punish us for our sins with the fruits of those sins. This is true."
– W. Shakespeare

Creative Team
Director – Viacheslav Yehorov
Artistic Director – Honored Artist of Ukraine Oleksandr Kutsyk
Producer – Yuliia Yehorova
Assistant Director – Ahnesa Tsvilodub
Art Concept – Dariia Yehorova
Scenographer – Kateryna Secret
Costume Designer – Dzvinka Syvyk
Sound Engineer – Asia Antsyferova
Technician – Mykhailo Bombushkar
Designer – Anastasia Hutnyk

Cast
Lear – Oleksiy Dashkovskiy
Fool – Olena Aliabieva
Goneril – Viktoriia Liulko
Regan – Sofia Belozertseva
Cordelia – Yuliia Horelkova
Performer – Olena Perekotienko, Andriy Khomik
Person in black – Tetiana Holyshevska, Hennadiy Yeshkunov, Viktoriia Nad, Veronika Hromadska

Theatre: Odesa Vasyl Vasylko Academic Ukrainian Music and Drama Theatre
Genre: A Game of Chance in Two Acts

William Shakespeare (translation: Iryna Steshenko, edited by Ali Oleshko)
Two pairs of twins. One big mess. And one timeless question: what makes us who we are?
Welcome to a city where everyone seems to know you—but you don’t know them. Where random encounters spiral into wild adventures.

William Shakespeare’s The Comedy of Errors is more than a witty tale of mistaken identities. It’s a playful yet profound journey of self-discovery and reconnection with one’s roots. The characters seek each other, but find something deeper—the truth of who they really are. Beneath the comic chaos lies a meaningful message: to find harmony, we must know our past and feel the bond with where we come from.

Expect laughter, twists, music, dance, and a dash of philosophy.
It’s more than a comedy—it's a chance to rediscover yourself.

Creative Team
Director – Roman Fedoseiev
Set Design – Yurii Larionov
Costume Designer – Khrystyna Korabelnykova
Composer and Conductor – Vadym Bessarab
Choreographic Concept – Pavlo Ivliushkin

Cast
Solina – Olena Koshova
Aegeon – Ihor Herashchenko, Pavlo Shmariov
Failed Actor – Dmytro Usov, Pavlo Prymak
Antipholus – Yehor Karelskiy
Dromio – Serhii Korneiko
Merchant – Mykhailo Hrytsyk, Anatolii Holovan
Pinch – Yaroslav Babych
Angelo – Pavlo Prymak, Denys Pasechnyi
Emilia – Olena Nahaieva
Adriana – Iryna Bessarab, Tamara Lukash
Luciana – Mariia Buimovych, Anastasiia Matusevych
Courtesan – Bohdana Shumanska, Iryna Sheliag, Anastasiia Lukianova
Guards – Yurii Reks, Vladyslav Tsobenko
Citizens – Anastasiia Lukianova, Yaroslav Babych, Iryna Sheliag, Bohdana Shumanska

Festival Music Stage.

Summer Theatre Studies School:
"Reviewing Performances – Writing Theatre History" as part of the Shakespeare Festival in Ivano-Frankivsk, under the auspices of the Ivano-Frankivsk Drama Theatre and curators:
🔹 Professor Nicoleta Cinpoeş – Shakespeare scholar (University of Worcester, UK)
🔹 Associate Professor Sofiia Rosa-Lavrentiy – Theatre scholar (Ivan Franko National University of Lviv)
📝 The School is organized in partnership with the Department of Theatre Studies and Acting at Ivan Franko National University of Lviv. Thanks to the university, the festival can provide certificates of additional education.

About:
The surge of directorial interest in Shakespeare's drama observed in Ukraine in the 2020s has not led to significant repertoire diversity: out of 37 plays translated into Ukrainian, directors traditionally choose the four "great tragedies" and a few comedies, so the total number of Shakespearean dramas performed on the Ukrainian stage does not exceed fifteen titles. Directors largely ignore the highly relevant history plays (especially "Henry V," "Richard II," etc.), comedies ("Measure for Measure," "All's Well That Ends Well," "Love's Labour's Lost," etc.), and tragedies ("Pericles," "Julius Caesar," "Antony and Cleopatra," etc.). Moreover, Shakespeare did not create in a vacuum—he was surrounded by playwrights with whom he often collaborated, and the plays of his contemporaries—Christopher Marlowe, Ben Jonson, Thomas Middleton, John Fletcher, Francis Beaumont, John Ford, John Webster—are virtually unknown in Ukrainian theatre, though they are an important part of the European repertoire. The panel will discuss which plays by Shakespeare and his contemporaries deserve more attention from theatres in terms of topical issues, artistic excellence, and, of course, theatre economics.
About the Speaker:
Daria Moskvitina is a PhD in Philology, Associate Professor, and Acting Head of the Department of Foreign Languages at Zaporizhzhia State Medical and Pharmaceutical University. She is a literary scholar and Shakespeare researcher, studying the echoes of Shakespeare in Ukrainian and US cultures. Co-author of the Telegram channel "Shakespeare Said...". She translates fiction and non-fiction for publishers KSD, Vivat, Ranok, Laboratory, Stretovych. She is a member of the International Shakespeare Association (ISA), European Shakespeare Research Association (ESRA), and the Ukrainian Shakespeare Center.

Shakespeare in the Theatre of Dmytro Bohomazov. Video Presentation.

Theatre: Municipal Institution 'Zakarpattia Academic Regional Ukrainian Musical and Dramatic Theatre named after Brothers Yurii-Augustyn and Yevhen Sherheii'
Genre: Drama

William Shakespeare (translated by Borys Ten)
When human ambition knows no bounds, a monster is born. He is ready to destroy everything to claim the coveted crown. Betrayal, murder, manipulation – these are not just his path to the throne; they are his calling. The vibrant performances of the actors, striking sets, and costumes will leave no one indifferent. The play prompts reflection on the nature of power, human cruelty, and the price of ambition.
16+

Creative Team
Director-producer – Mykhailo Fishchenko
Set Designe r– Lyudmyla Byelaya
Choreographer – Viktor Babuka
Conductor, Arrangements, and Orchestration – Anastasiia Zhuzhghova
Musical Design: Mykhailo Fishchenko, Nazarii Urdynets
Music Track Editing – Nazarii Urdynets
Lighting Design – Roman Zhohin
Lighting Artist – Ihor Tymko
Sound Engineer – Nazarii Urdynets
Assistant Director: Stepan Barabash, Roman Kaverzin
Director's Assistant – Roman Kaverzin

Cast
Richard, Duke of Gloucester – Rudolf Dzurіnets
King Edward IV – Oleg Vlasov
Edward, Prince of Wales – Borys Shkvara
Richard, Duke of York – Volodymyr Tsymbalii
George, Duke of Clarence – Roman Kaverzin
Archbishop – Stepan Barabash
Duke of Buckingham – Andrii Pavliuk
Earl Rivers – Bohdan Klymentii
Hastings – Oleksandr Varha
Stanley – Liubomur Gelias
Sir William Catesby – Dmytro Bondarenko
Sir James Tyrrell – Serhii Klimchuk
Lord Mayor – Vasyl Shershun
First murderer – Oleh Svishchov
Second murderer – Vasyl Hiha
Queen Elizabeth – Olena Smoliar
Queen Margaret – Larysa Volkovska-Moskalyk, Olesya Dzurіnets
Duchess of York – Nataliya Zasukhina
Anne – Anhelina Snozyk
Girl with the Roses – Tetiana Mikhalko
First Buffoon – Diana Vyshneva
Second Buffoon – Daria Horshkova
Residents of the city: Viktor Babuka, Mykhola Stefanyk

Musicians (Theater Orchestra "Yama")
Anastasiia Zhuzhhova (mandolin)
Halyna Bulanova (keyboard)
Emiliia Fishchenko (cello)
Oksana Ihnatych (violin)
Hanna Haidu (flute)
Alina Hvozdi (violin)
Nataliya Tanchynets (violin)
Yuliya Roman (violin)

Festival Music Stage.

Summer Theatre Studies School:
"Reviewing Performances – Writing Theatre History" as part of the Shakespeare Festival in Ivano-Frankivsk, under the auspices of the Ivano-Frankivsk Drama Theatre and curators:
🔹 Professor Nicoleta Cinpoeş – Shakespeare scholar (University of Worcester, UK)
🔹 Associate Professor Sofiia Rosa-Lavrentiy – Theatre scholar (Ivan Franko National University of Lviv)
📝 The School is organized in partnership with the Department of Theatre Studies and Acting at Ivan Franko National University of Lviv. Thanks to the university, the festival can provide certificates of additional education.

About:
In the theatre world, every Shakespeare production is an event "by default," as theatres most often turn to his texts, especially tragedies, during times of major socio-political upheaval. In modern Ukrainian history, Shakespeare has commented on the Orange Revolution, the Revolution of Dignity, the war with Russia, and even offered models for visions of the future. Why do we trust this expert on catastrophe so much? What are we seeking—true prophecy or a message of salvation? What conceptual framework does Shakespeare offer for understanding the events we witness?
About the Speaker:
Iryna Chuzhynova is a PhD in Art Studies, theatre scholar, and program director of the Ukrainian Shakespeare Festival in Ivano-Frankivsk. She is the author of journalistic, scholarly, and analytical works. She teaches "Theatre Criticism" and "Philosophy of Theatre" at the Kharkiv National University of Arts named after Ivan Kotliarevsky. She is a member of the Les Kurbas State Prize Committee.

Shakespeare in the Theatre of Eimuntas Nekrošius
Video Presentation

Theatre: Luhansk Regional Academic Ukrainian Music and Drama Theatre
Genre: Comedy

Authors: O. Gryaznov and I. Steshenko
In the café "Felicita", located on the sunny coast, the usual summer season begins. But everything changes when its owner, the charismatic Mrs. Leonato, meets an old acquaintance - Don Pedro, who arrives accompanied by his friends. From that moment on, feelings, gossip, and a whole storm of romantic adventures burst into the leisurely life of the café.
At the center of the plot are two couples in love: the sincere and serious Claudio with the gentle Hero and the witty Beatrice and Benedict, who hide their true emotions behind sarcastic jokes. Their paths to love are as different as day and night, but each of them is sincere and captivating in its own way. To the rustle of umbrellas and the flashes of beach discos, the heroes experience betrayals, reconciliations, conspiracies and, in the end, find themselves and each other.
This production is a free and lively reinterpretation of Shakespeare's classic comedy, in which familiar motifs sound in a new way, and the stage language acquires a bright summer sound.
"Much Ado About Nothing" is a comedy about carefree times, about corn on the seashore, about the lightness of being and the depth of feelings. This is a performance that gives the feeling of summer, when it is easiest to laugh and fall in love.

Creative Team
Stage Director – Vladyslav Pysarev
Scenography and Costumes – Andriy Romanchenko
Choreography – Yevheniya Valyukh
Musical Accompaniment – Anastasia Snitko

Cast
Don Pedro – Roman-Oleksandr Kozak
Don Juan – Serhiy Samarsky
Claudio – Serhiy Peresunko
Benedict – Honored Artist of Ukraine Oleksandr Glyantsev
Leonato – Honored Artist of Ukraine Nataliya Karchkova
Borachio – Vladyslav Karetnyk
Conrad – Yulia Sidorchenko
Father Francis – Kirill Gorbunov
Shipshyna – Honored Artist of Ukraine Denys Ponomarenko
Dovbnya – Honored Artist of Ukraine Maria Korinna
Protocolist – Andriy Zima
Hero – Daria Nekrasova
Beatrice – Kateryna Sachenko
Ursula – Anastasia Pyatikop
Honet – Vasyl Bardakov
Servants – Yevheniya Valiukh, Alina Kornienko, Oksana Kryvonos

Official Closing Ceremony of the Festival.