In May 2024, Yevgenia Berkovich and Svetlana Petrichuk, the director and writer of an experimental play, became the first Russian artists since Soviet times to be put on trial for the content of their work. It was a show trial. Like all show trials its outcome was preordained. But when professional actors took the stand, it turned it into a different kind of show—one that put the spotlight on a radical ideology that has gripped the Russian state.In a bonus episode of our Next Year in Moscow series, The Economist’s Russia editor Arkady Ostrovsky presents a dramatisation of that trial to find out why the Russian state needed to make an example of a fringe production and, more importantly, its director.Listen to what matters most, from global politics and business to science and technology—<a href="https://subscribenow.economist.com/podcasts-plus" rel="noopener noreferrer" target="_blank">Subscribe to Economist Podcasts+</a>For more information about how to access Economist Podcasts+, please visit our <a href="https://myaccount.economist.com/s/article/What-is-Economist-Podcasts" rel="noopener noreferrer" target="_blank">FAQs page</a> or watch <a href="https://www.youtube.com/watch?v=48TlDbL-4vU" rel="noopener noreferrer" target="_blank">our video</a> explaining how to link your account.

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