Interview with the
founder
of CITF
founder
of CITF
Talking about the festival's journey, vision and inspiration
MK: Alex, you’ve sparked a lot of interest as the driving force behind CITF. Could you start by telling us a little about yourself and what initially drew you to Cyprus?
AW: I am a dreamer and a producer, two roles that have shaped my life and work.
I was born into a cultured and intellectual family in St. Petersburg. At our gatherings, you might meet a surgeon, a conductor, a professor, or an entrepreneur—all with unique perspectives. As a Jewish boy in this environment, I studied music and ballet. I still remember travelling alone by metro to my lessons at the age of nine, humming melodies as I wandered through the old city centre. Those moments sparked a lifelong love for creativity and the arts.
I like to think of myself as part of a “third generation” of my family. My relatives, who emigrated to Silicon Valley in the 1970s, used to say: “The first generation works any job to survive, the second becomes professionals like lawyers, and the third explores the humanities because they finally have the freedom to do so.” I embody that freedom. I studied economics, earned a master’s degree in theatre studies, became fluent in several languages, and developed a deep appreciation for both art history and contemporary performance. I’ve even had the honour of receiving a Fulbright scholarship and teaching arts management.
Over the years, I’ve travelled extensively and deeply engaged with the global theatre scene. But in 2022, personal circumstances compelled me to leave Russia and move to Israel. A year later, I found myself in Cyprus. At first, it seemed like a random choice, but now I believe it was meant to be. Here, I feel my dreams can finally take shape.
And my dreams are simple yet profound: to nurture and support talented, creative individuals. When I left Russia, the bombing was relentless. I knew I had to act quickly or risk losing the chance to create something meaningful. So, I chose action over hesitation.
AW: I am a dreamer and a producer, two roles that have shaped my life and work.
I was born into a cultured and intellectual family in St. Petersburg. At our gatherings, you might meet a surgeon, a conductor, a professor, or an entrepreneur—all with unique perspectives. As a Jewish boy in this environment, I studied music and ballet. I still remember travelling alone by metro to my lessons at the age of nine, humming melodies as I wandered through the old city centre. Those moments sparked a lifelong love for creativity and the arts.
I like to think of myself as part of a “third generation” of my family. My relatives, who emigrated to Silicon Valley in the 1970s, used to say: “The first generation works any job to survive, the second becomes professionals like lawyers, and the third explores the humanities because they finally have the freedom to do so.” I embody that freedom. I studied economics, earned a master’s degree in theatre studies, became fluent in several languages, and developed a deep appreciation for both art history and contemporary performance. I’ve even had the honour of receiving a Fulbright scholarship and teaching arts management.
Over the years, I’ve travelled extensively and deeply engaged with the global theatre scene. But in 2022, personal circumstances compelled me to leave Russia and move to Israel. A year later, I found myself in Cyprus. At first, it seemed like a random choice, but now I believe it was meant to be. Here, I feel my dreams can finally take shape.
And my dreams are simple yet profound: to nurture and support talented, creative individuals. When I left Russia, the bombing was relentless. I knew I had to act quickly or risk losing the chance to create something meaningful. So, I chose action over hesitation.
Building CITF
MK: Launching an international theatre festival in a new country is a monumental task. What inspired the creation of CITF, and how did you bring it to life?
AW: CITF was never about breaking barriers but building bridges. My initial vision was to invite artists from warring nations to the island—a pure gesture of humanism. We even considered calling the festival Imagine, inspired by Lennon, Gandhi, and Tolstoy’s ideals of unity. However, I soon realised that while conflicts rage on, it’s hard for people to come together.
The festival became my peaceful response to the horrifying aggression in the world. Peace is the weapon I know how to wield. Some laughed at my choice of location—a divided island scarred by European trauma—but I believe Cyprus chose me.
When I arrived, I passionately shared my vision with anyone who would listen. Within a month, I had assembled a team of ten people—my “advisory council”—and began building a programme. I reached out to artists I’d worked with, and soon, people began to believe in the project. Cyprus seemed to support me. Someone contributed funds, another person introduced me to key contacts, and others helped navigate legal challenges. It felt like magic.
Of course, I couldn’t meet everyone in such a short time, and I understand this raised questions among local artists who’ve worked here for years. But every time I doubted myself, people urged me to keep moving forward. So, I keep going, trusting time to put everything in its place.
AW: CITF was never about breaking barriers but building bridges. My initial vision was to invite artists from warring nations to the island—a pure gesture of humanism. We even considered calling the festival Imagine, inspired by Lennon, Gandhi, and Tolstoy’s ideals of unity. However, I soon realised that while conflicts rage on, it’s hard for people to come together.
The festival became my peaceful response to the horrifying aggression in the world. Peace is the weapon I know how to wield. Some laughed at my choice of location—a divided island scarred by European trauma—but I believe Cyprus chose me.
When I arrived, I passionately shared my vision with anyone who would listen. Within a month, I had assembled a team of ten people—my “advisory council”—and began building a programme. I reached out to artists I’d worked with, and soon, people began to believe in the project. Cyprus seemed to support me. Someone contributed funds, another person introduced me to key contacts, and others helped navigate legal challenges. It felt like magic.
Of course, I couldn’t meet everyone in such a short time, and I understand this raised questions among local artists who’ve worked here for years. But every time I doubted myself, people urged me to keep moving forward. So, I keep going, trusting time to put everything in its place.
Ticket Pricing
MK: Some critics note that CITF might cater primarily to affluent Russian audiences due to ticket prices. How do you respond to this?
AW: I understand the concern and partly share it. Without subsidies, ticket prices reflect the true cost of production. For example, if a project costs €100,000 and there are 500 seats, tickets need to average €200 each. Subsidised tickets—like those costing €12—are only possible with government support.
CITF began as a private initiative, relying on sponsorships and ticket sales. This created financial barriers, but it was necessary to get started. In the future, I aim to secure grants and partnerships to make tickets more accessible.
It may sound idealistic, but I dream of theatre being recognised as a form of public health. Imagine if tickets could be reimbursed through healthcare systems like GESY as part of mental health initiatives. Theatre enriches emotional and creative well-being, which is essential for a thriving society.
Last year, we ensured mixed audiences. For example, John Malkovich’s performance attracted Cypriots, Brits, and Russian speakers. We sold affordable tickets at €30 each and offered over 50 free tickets to local theatre communities for every performance. Moving forward, we’ll refine this approach, balancing affordability with sustainability.
AW: I understand the concern and partly share it. Without subsidies, ticket prices reflect the true cost of production. For example, if a project costs €100,000 and there are 500 seats, tickets need to average €200 each. Subsidised tickets—like those costing €12—are only possible with government support.
CITF began as a private initiative, relying on sponsorships and ticket sales. This created financial barriers, but it was necessary to get started. In the future, I aim to secure grants and partnerships to make tickets more accessible.
It may sound idealistic, but I dream of theatre being recognised as a form of public health. Imagine if tickets could be reimbursed through healthcare systems like GESY as part of mental health initiatives. Theatre enriches emotional and creative well-being, which is essential for a thriving society.
Last year, we ensured mixed audiences. For example, John Malkovich’s performance attracted Cypriots, Brits, and Russian speakers. We sold affordable tickets at €30 each and offered over 50 free tickets to local theatre communities for every performance. Moving forward, we’ll refine this approach, balancing affordability with sustainability.
Local Talent in the Spotlight
MK: Launching an international theatre festival in a new country is a monumental task. What inspired the creation of CITF, and how did you bring it to life?
AW: A global festival cannot thrive without a strong local context. For our inaugural season, we collaborated with local artist Paris Erotokritou. This year, we’re working with a Cypriot director on a new premiere. The talent here is extraordinary—Maria Kyriakou, Alexis Vassiliou productions, your own work, Maria Karolidou, are all remarkable, just to name a few. I am always interested in coming in contact with more local artists and promoting their work.
I believe my experience and international connections can help Cypriot creators break beyond the local scene. My vision is to elevate Cypriot talent by placing it alongside global stars, fostering mutual growth and exchange.
While I’m still exploring the local arts scene, I’m committed to collaborating with bold, contemporary voices that align with CITF’s vision.
AW: A global festival cannot thrive without a strong local context. For our inaugural season, we collaborated with local artist Paris Erotokritou. This year, we’re working with a Cypriot director on a new premiere. The talent here is extraordinary—Maria Kyriakou, Alexis Vassiliou productions, your own work, Maria Karolidou, are all remarkable, just to name a few. I am always interested in coming in contact with more local artists and promoting their work.
I believe my experience and international connections can help Cypriot creators break beyond the local scene. My vision is to elevate Cypriot talent by placing it alongside global stars, fostering mutual growth and exchange.
While I’m still exploring the local arts scene, I’m committed to collaborating with bold, contemporary voices that align with CITF’s vision.
Looking Ahead
MK: Looking ahead to 2025 and beyond, what challenges and goals do you foresee for CITF?
AW: The biggest challenge is maintaining momentum. Funding uncertainties, logistical hurdles, and fading contacts are always on my mind. However, the vision of CITF as a unifying cultural platform keeps me inspired.
My goal is to create meaningful connections and build a strong team to establish CITF as the cultural heartbeat of Cyprus. I want to bridge divides—across ethnicities, social classes, and languages—through shared cultural experiences. It’s an ambitious mission, but one I approach with optimism and persistence.
AW: The biggest challenge is maintaining momentum. Funding uncertainties, logistical hurdles, and fading contacts are always on my mind. However, the vision of CITF as a unifying cultural platform keeps me inspired.
My goal is to create meaningful connections and build a strong team to establish CITF as the cultural heartbeat of Cyprus. I want to bridge divides—across ethnicities, social classes, and languages—through shared cultural experiences. It’s an ambitious mission, but one I approach with optimism and persistence.
Final Thoughts
MK: Thank you, Alex, for sharing your journey and vision with us.
AW: Thank you for the opportunity to share my story. Theatre has the power to transform lives, and I’m excited to see where this journey takes us.
AW: Thank you for the opportunity to share my story. Theatre has the power to transform lives, and I’m excited to see where this journey takes us.