He is winner of the following prizes: Crystal Turandot for his scenography for Smertelny nomer, 1995; Golden Mask for his scenography for The Inspector General (Alexandrinsky Theatre) and the State Prize of Russia for his scenography for the same production and also for Truth is good, but happiness is better (Maly Theatre), 2004; in 2005, he was nominated for a Zolotoy sofit award (The Double at the Alexandrinsky Theatre).

Александр Боровский-Бродский


Born in Kiev into the family of theatre designer, David Borovsky-Brodsky. In 1983, he completed his studies at the Staging faculty of the Moscow Art Theatre Studio-School (I. Malygina’s class).
Since 1986, he has been chief designer at Moscow‘s Oleg Tabakov Theatre (up to 1992 — Theatre-Studio). In 2000, he was also appointed chief designer at Moscow’s Vsevolod Meyerhold Centre, and in 2006 he became chief designer at the Chekhov Moscow Art Theatre and Sergei Zhenovach Studio of Theatre Art.

Among his productions are

at the Oleg Tabakov Theatre:
Neil Simon’s Biloxi Blues (1987)
Galich’s Matrosskaya tishina (Matrosskaya Silence) (1990)
Strasti po Bumbarashu (Bumbarash’s Passion) after Gaydar (1993)
Antonov’s Smertelny nomer (Salto mortale) (1994)
Gladilin’s Love as Militarism (1998)
Aldo de Benedetti’s Sublimation of Love (1997)
Fokin’s Yeshcho Van Gogh (Van Gogh Again) (co-production with the Meyerhold Centre, 1998)
Strindberg’s The Father (1999)
Gorky’s Lower Depths (2000)

at the Vsevolod Meyerhold Centre:
Vosdushny gorod (Aerial Town) after Aristophanes’ play Birds (co-production with the Novosibirsk Globus Theatre and the Varna Stoyan Bchvarov Theatre, Bulgaria, 2000)
Semenovsky’s Arto i evo Dvoynik (Arto and his Double) (2002)

at Moscow’s Malaya Bronnaya Theatre:
Volodin’s Pyat vecherov (Five Evenings) (1997)
The Night before Christmas (1998)

at the Maly Theatre:
Griboyedov’s Woe from wit (2000)
Ostrovsky’s Truth is good, but happiness is better (2003)

at the Sovremennik:
Ariel Dorfman’s Death and the Maiden (1992)
Galin’s Titul (Title) (1993)
The Overcoat after the story by Gogol (2004)

at the A.P. Chekhov Moscow Art Theatre:
Ray Coony’s No 13 (2001)
Mukhina’s Yu (2001)
Galin’s Retro (2002)
Michael Frayn’s Copenhagen (2003)
Kalinoski’s Lunnoye chudovishche (Moon Monster) (2004)
The White Guard after the play by Bulgakov (2004)

at the A.S. Pushkin Drama Theatre (Alexandrinsky):
Gogol’s Inspector General (2003)
The Double after the play by Dostoyevsky (2005)
Tolstoy’s The Living Corpse, 2006
Gogol’s Marriage, 2008
Levanov’s Ksenia. The History of Love, 2009
Shakespeare’s Hamlet, 2010
ZERO Liturgy after The Gambler by Dostoyevsky, 2012

at the Studio of Theatre Art:
The Family in Decline after Leskov, 2006
Gogol’s The Gamblers, 2007
The Battle of Life after Dickens, 2008
The Potudan River after Platonov, 2009
Three Years after Chekhov, 2009
The Notebooks after Chekhov, 2010
Brother Ivan Fyodorovich after Dostoyevsky, 2011
Moscow to the End of the Line after Erofeev, 2012
A Dead Man’s Memoir after Bulgakov, 2014

He has often worked abroad — at theatres in the USA, Great Britain, Finland, Denmark, Austria, in particular he designed Solzhenitsyn’s The Victor’s Feast for Liverpool’s Everyman Theatre (1989), The Mechanical piano after Chekhov for Helsinki’s City Theatre (1994), Chekhov’s Three Sisters for the Finnish National Theatre (1999).
He has worked in cinema and for television, and has done several programs for the Circus on Tsvetnoy Boulevard (with Valentin Gneushev).
He has participated in international theatre exhibitions. He has worked with many famous theatre directors including Valery Fokin, Adolph Shapiro, Sergei Zhenovach, Galina Volchek.