The Play ‘Vladimir’: An Exploration of Courage and Cowardice

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October 20, 2026
Culture Entertainment

Vladimir, a 2024 play by Erika Sheffer, merges political thriller and family drama to examine courage and cowardice amidst authoritarianism. The Midwest premiere by Shattered Globe Theatre, directed by Lou Contey, is anchored by simple yet compelling acts performed by ordinary individuals. This approach emphasizes rich character studies, evoking admiration, sympathy, and disgust.

Set in the early 2000s, the play reflects on President Putin’s power consolidation and the aftermath of the Second Chechen War. Central to the narrative is Raisa “Raya” Bobrinskaya, portrayed by Rebecca Jordan, an investigative journalist unperturbed by an assassination attempt. She pursues a new story on a financial scandal tied to high-level members of the Kremlin and presents her findings to her editor, Kostya, played by Adam Schulmerich.

While the play is rooted in Russian history and politics, its verisimilitude is less critical than the themes it presents to American audiences. The play, commissioned by LA’s Geffen Playhouse and premiered at Manhattan Theatre Club, resonates with U.S. viewers in times of complex relations with Russia. Sheffer leverages this to extend a cautionary tale with evident parallels to contemporary issues.

The play also introduces an American character, Jim, portrayed by Drew Schad, who embodies a finance professional’s inadequacies, offering a reflection on U.S. complicity. Despite being a play about Russia, the production invites introspection on where accountability lies.

Rebecca Jordan’s performance as Raya highlights her steely resolve, causing professional and familial friction. Raya’s daughter, Galina, played by Juliana Liscio, is concerned about her mother while focusing on her own wedding plans. Their interactions showcase tender moments; however, deeper conflict between Raya’s personal and professional commitments could enrich the narrative.

In contrast, Yevgeny, played by Tristan Odenkirk, emerges as a pivotal character. A Jewish accountant from Ukraine, expecting a child, Yevgeny unexpectedly becomes embroiled in Raya’s investigation. Odenkirk offers a nuanced portrayal, blending humor and emotional depth, with his connection to Bob Odenkirk hinting at strong comedic roots.

The characters reflect varied responses to a repressive regime. Kostya, originally a driving force in Raya’s career, veers from his initial path, representing self-preservation over idealism. Meanwhile, Jim’s retreat exposes bravado’s hollowness, sparking introspection about reactive choices under duress.

Design elements bolster the production. Joe Schermoly’s stark set design juxtaposes with actors maneuvering set pieces in dark masks and red flashlights, crafting mini-scenes amidst transitions. A tense score by Christopher Kriz reinforces surveillance themes. Props, minimized by Nga Sze Chan, echo the characters’ sparse existence.

Sheffer crafts a narrative that resists simplifying morality, avoiding easy judgments. A young Chechen woman, portrayed by Kseniya Janyan, remains an enigma, delivering some of the story’s most scathing insights. Her lines prompt reflections on empathy and the impetus to overcome apathy.