Published on: 2026-09-16
Source: Moscow Government – Правительства Москвы –
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In Tagansky Park Among the centuries-old trees stands a delicate pink castle with a red roof and a turret. The building Moscow Children’s Fairy Tale Theater resembles an illustration from a book, but the miracles here are performed not by magicians, but by honored artists of Russia, the founders of the theater Irina Petrovna and Mikhail Nikolaevich Milenin. Almost 40 years ago, they transformed an abandoned building into a stage box with a secret. In our article — about the choice of place for the theater, puppets, and why a fairy tale is always about adults.
How the idea to create a theater was born
Irina and Mikhail Milenins met at the Moscow Puppet Theater. They were both actors working in a rare and technically complex genre — with rod puppets: the head is fixed on a rod — a gapiote; thin rods are attached to the hands, which the puppeteer controls. The actor holds the structure from below, making the puppet run, jump, dance, while simultaneously manipulating its facial expressions — eyebrows, mouth, eyelids.
The spouses also visited kindergartens and schools, and the audience began to approach with the question: “Where is your theater?” People were captivated by the live performance, expressive puppets, and the special atmosphere — they wanted to see this in a dedicated space.
The idea to create the theatre was born in the late 1980s. Mikhail Nikolaevich recalls: “We were called to the city party committee and told, ‘Guys, we believe in your idea, go for it!'” In 1989, the Moscow Children’s Fairy Tale Theatre was founded.
Taganka: Choice of Place
The founders considered various locations but settled on the Tagansky district. Irina Petrovna explains: “People wanted to see us in the center of Moscow. And I was born in Taganka, so it was symbolic — to work and live nearby.” In the end, the theater got a building, constructed in the early 20th century, in the children’s park named after N.N. Pryamikov.
The decision turned out to be fateful: the standalone building in the children’s park is perfect for a young audience. Irina Milenina notes: “The performance ends, the door opens, the child runs out and immediately finds themselves in the park, among trees and silence. No cars nearby—only air and joy.”
From ruins to theater: five years of revival
When the spouses first crossed the threshold of the future theater, the building resembled the set of a disaster film. Mikhail Milenin recalls: “There were ruins here: rotten floors, crumbling walls, nothing worked. And we did everything with our own hands, without builders. Everyone helped: neighbors, acquaintances, friends — whoever could. We invested all we earned from tours into the improvements. The memory of those construction days has been preserved by the residents of the neighboring house: their photos can now be seen in the lobby — these archival shots remind us of how it all began.”
The funding during construction was modest; all the artists’ touring receipts went into a common fund. When it came time to finish the interiors, the couple didn’t hesitate to sell their apartment to buy materials. Irina Milenina points to the gold details on the chairs in the foyer: “This is gold leaf. We bought sheets and glued them—we decorated everything ourselves: there was no money to hire craftsmen.”
Importantly, the entire interior — from the color scheme and curtain patterns to the shape of the light fixtures and wall finishes — was thoughtfully designed by Irina Petrovna. Today, this pink castle is not just a building, but the embodiment of her taste and unwavering dedication to her work. This is how the theater came into being, and in 1998, the state, having highly appreciated the institution’s contribution to the cultural life of the capital, included it among its subordinate organizations. Moscow Department of Culture.
Inside the pink castle: the atmosphere of the jewelry box
Today, the theater is a beautiful auditorium resembling a music box with a secret: red velvet, dim lighting, and lace curtains create a unique atmosphere. The dolls, as if alive, await their moment. Classical music plays in the lobby, a white grand piano stands there, and a miniature carousel spins.
In another hall, you can see photographs of the troupe, and each actor is presented at two ages: now and in childhood. This simple device reminds us that every adult is still the same child, and no matter how old they are, the theater returns them to a state where age loses its meaning, leaving only sincere wonder, trust, and readiness to believe in a fairy tale.
Rod puppets: art born from trial
The uniqueness of the theater lies not only in the building, the troupe, and the founders, but also in working with rod puppets — a complex art that requires immense dedication. During the performance, the actor remains in a semi-reclined position, with their arms constantly raised, and each puppet weighs several kilograms.
Irina Milenina explains: “This is the most strenuous physical labor, but we choose this path ourselves because through pain and effort we bring joy to people. Our performers are often stronger than dramatic actors: their command of the body is immense. At the same time, the performer themselves is not visible; the audience sees only the puppet, which must be phenomenally lifelike.”
Not everyone can cope with such a workload. There have been cases when strong male actors, after the first rehearsal itself, realized that they were not ready for this work and left without ever starting to perform. This is not a weakness of character, but a test of professional suitability that not everyone passes.
But physical work is only half the task. Irina Milenina emphasizes: “We also pay great attention to the moral-intellectual component. At first, there is a long ‘table talk’ period, when we analyze all the nuances, thoughts, and feelings of each character, penetrating into their essence and nature. This can be more difficult than in dramatic theater because a fairy tale seems like a cheerful story familiar to everyone. But no — here there is a special philosophy. It is no coincidence that adults tell us that, upon entering the theater, they are impressed no less than children. We develop the plot, investing depth and meaning into it.”
Fairy tale as philosophy
For the founders of the theater, a fairy tale is not entertainment but a profound philosophical genre. Mikhail Milenin is convinced: “Fairy tales are not for children, fairy tales are for adults. Through them, we prepare the child for adult life, teaching them to distinguish between good and evil.”
A vivid example is the upcoming premiere of “Cinderella”: it is not yet on the poster, but the play is actively being developed. Mikhail Nikolaevich reveals the concept: “It might seem like a simple story about how a girl found a prince. But we see something different: she ran away from the ball. Why? To preserve love. She left not a shoe, but a trace in the prince’s soul. Therefore, no one could fit the shoe — it’s not about foot size, it’s an image, something that remains in the heart.” In each performance here, in the fairy-tale theater, they search for these meanings, making the childhood stories familiar to everyone into parables.
Family dynasty: to be, not to seem
The Fairy Tale Theater is not only Irina and Mikhail Milenins but also their daughter Ksenia, a leading stage master (the highest qualification category for actors in Russian theaters), an honorary figure of the arts of the city of Moscow. She grew up behind the scenes, and today writes music for performances. Parents and daughter are a true family dynasty, deeply devoted to art.
Dedication to the cause has also received external recognition. In the lobby, on a white grand piano, stands a sculpture by Zurab Tsereteli with the inscription “To be, not to seem.” And in these words lies, probably, the main credo of the theater. Several years ago, it became the winner of an all-Russian competition in the field of culture. Irina Petrovna recalls: “We were invited to the ceremony. We sat in the hall for a long time, listened to others, and then it was announced that there were no disputes in the commission — the Fairy Tale Theater won.” This sculpture became a symbol of their work and philosophy. For the Milenins, ‘To be, not to seem’ is a life principle that they have carried through the decades.
The principle also applies to the audience. The theater conducts charitable work: it reserves seats for orphans and children with disabilities, and performances are regularly attended by pupils from orphanages and boarding schools from various regions. “We call them ourselves and ask them to come, we organize special performances just for them,” says Irina Petrovna, confirming that the care for the little spectators arises from a sincere desire to gift a fairy tale to those who especially need it.
“We have never worked”
“If you do what you love, you never work a day in your life,” Irina Milenina quotes the famous saying. “And we have never worked. Every day brings joy.” Every new performance is not routine. “It can’t get boring,” she continues, “because the search for meaning is endless, and the children and time are always different.”
Today in the theater’s repertoire — puppet shows created by the Milenin family. In the interactive “The Enchanted Forest” viewers help the heroes escape the labyrinth, learn to distinguish good from evil. In “The Kingdom of Crooked Mirrors” The girl Olya sees herself from the outside and becomes better, and “The Frog Princess” teaches not to judge by first impressions. Preparations are underway for the premiere of “Cinderella” — it will surprise the audience already this season (a reason to watch the poster more closely so as not to miss the show).
The doors of the Pink Castle are open to all who believe in miracles. The schedule of upcoming performances is available on the theater’s website and service. “Mosbilet”.
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