The big hall at Gogol Centre hosted a complex and large-scale event with live music and a large number of actors. One of the features of Didenko’s creativity is the work by sketching. Director composes the staging together with his actors, who thus become his co-authors too.

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“I like Naum Kleyman’s idea that art, as opposed to science, looks at the world as a whole unity, not as a number of various parts. And it is a mission of art to return to men their archaic ability to perceive the world in its integral unity. We gathered all texts written by Kharms, all that we could find, and researched them using numerous methods. We read them, we sang them, we thought with them, we danced, we kept silent, we took items. A lot of things came up. By now they are all parts of MYR.” (Maxim Didenko) 

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“First I thought this is NOTHING. But then I realized that this is MYR.” (Daniil Kharms)

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“Maxim Didenko staged a catchy and loud performance at Gogol Centre; it is hard to discuss it the next morning after watching. “Kharms.Myr” remains in the memory as an array of expressive, energetic and complicated scenes, barely pulling in an understandable sequence of statements. We must pay tribute to the director: he “stirred up” a very complex project, in which the author’s statement had to acquire a marketable form of a spectacular show. Frankly, the second problem is solved much more successfully than the first one. “Kharms.Myr” gives the viewer a sense of belonging to the capricious synthetic genre that mixes drama and musical theater (the music for a live orchestra is composed by Ivan Kushnir), sometimes reaching the grade of a rock opera, sometimes getting relaxed down to a pop concert, with circus blotches and generous use of video projection.” (Roman Dolzhansky, Kommersant, April 2015)