Exclusive Interview with the Actress for MosFocus
In the latest issue of MosFocus magazine, we invited Lana Krymova — a Russian theatre and film actress, known for her roles on stage and in acclaimed film projects. Lana was born in Moscow, graduated from the Yaroslavl Theatre Institute (YAGTI), worked for several years at the Dzhigarkhanyan Theatre, then at the Satire Theatre and the Theatre on Trubnaya, where she remains active to this day, having also started appearing in films. Audiences note her vibrant charisma, deep immersion in roles, and artistry that manifests not only in her acting but also in the creation of unique images. Today, Lana shares her professional experiences, talks about the subtleties of working with costumes in various formats, and discusses how stage decisions influence her personal style and everyday life.
On the difference in formats.
— What is fundamentally different about working with costumes in theatre versus cinema? Can you share examples from your experience: which details matter most on stage and which are important on camera?
Lana Krymova: In cinema, everything is determined by the close-up: absolutely every little thing matters — details, jewellery, the texture of the fabric. All of this creates the reality of the character. As a rule, for films, modern, everyday costumes are chosen that look good on camera. In theatre, on the other hand, everything is painted in broad strokes: often these are historical costumes, voluminous dresses, bold jewellery. While films feature subdued tones, theatre requires vibrant colours — after all, you have an audience of 1,200 people, and you must be visible from every seat. Tiny details are less important on stage than they are in film.
— How does the close-up in cinema influence the choice of fabrics, textures, and costume embellishments? Have you ever had to adapt a theatrical costume for filming?
Lana Krymova: The close-up is, of course, very important: every little fibre, every piece of jewellery, even the tiniest details are visible on screen. When adapting a theatrical costume for filming, you have to think through every detail, adding those elements that help create the character on camera. In film, for instance, the neckline, jewellery, and play of textures are more important — while the overall look of the dress is less critical than it is on stage.
On working with costume designers.
— How do you build a dialogue with costume designers in theatre and cinema? Have there been times when you suggested ideas that altered the original vision?
Lana Krymova: There are designers with whom I am on the same wavelength, and they take my comments about the role and image into account. But there have been conflicts too. For example, once in a Chekhov play, I played a girl with three suitors: I loved one, but he left me, while the other two loved me. I imagined my character in a beautiful blue historical dress, but the designer insisted on light, girlish outfits. We even argued; I cried, insisting that the proposed style was wrong. In the end, the director backed me, and I got that very blue dress, which made the character!
— In which format (theatre or cinema) is it easier for you to reach an understanding with the costume — and why?
Lana Krymova: It all depends on the designer, but in recent years I’ve been on the same page with them and happily wear the costumes they suggest!
On the transformation of characters.
— Have there been roles where a change of costume became a turning point for the character? How did this affect your performance?
Lana Krymova: Absolutely! For example, in “Pygmalion” I first played a dowdy flower seller, and my costume matched. Later, the heroine becomes sophisticated, beautiful, lively — and this is reflected in the golden ball gown! Such a costume really helps to reveal the character: once you put on a royal dress, you feel different and act differently.
On the influence on everyday fashion.
— Have audience members ever copied your stage or film looks? Were there any surprising examples — for instance, costume elements that went beyond the context of the role?
Lana Krymova: Of course! There are plays after which I myself start dressing like the heroine, and sometimes I notice that the audience likes the look too — and they start copying it. That’s very flattering!
On personal style.
— How has working with costumes in theatre and cinema influenced your own taste in clothing? Have you picked up any habits from your professional practice?
Lana Krymova: I absolutely love the topic of style and adore creating looks not only on stage but also in everyday life! For me, it’s all intertwined now, and I really enjoy it!
— Is there a wardrobe item you started wearing after a particular role — and it became part of your everyday look?
Lana Krymova: Yes, hats!
On practicality and aesthetics.
— Have there been costumes that looked spectacular but made it difficult to perform? How do you find a compromise between beauty and comfort? Lana Krymova: Certainly, especially historical dresses — they can be enormous and heavy! But this discomfort, on the contrary, adds vibrancy and excitement to the character. When the costume is well-chosen and suits the role, it only helps, and nothing gets in the way of performing!
Photographer Alena Skripkaru