Breaking the Silence: Mihail Rakov’s Audio Drama ‘The Call’ Confronts Workplace Sexual Harassment in Russia and Post-Soviet Countries

By Lusya Yangirova | Art Historian and Critic

Sexual harassment in the workplace has become one of the most discussed issues in recent years. Women worldwide have found the courage to step forward and share their experiences. This act has been particularly important for those in societies where victim-blaming is the norm in cases of abuse. This is especially true in post-Soviet countries, where sex and sexuality were taboo topics, and sexual abuse was often seen as something for which only the victim was responsible.

Over the past few years, movements like #MeToo have exposed the uncomfortable reality of harassment in women’s professional lives. Millions of women have bravely shared their hidden traumas with the public, inspiring others to speak out.

Today, numerous foundations, activists, and supportive individuals are working to highlight these issues and assist those traumatized by such abuse. Mihail Rakov, a playwright and producer, is among those committed to creating safe work environments. This passion led him to produce the audio drama “The Call.”

For years, Rakov gathered stories shared by friends and those he encountered in the media. He wanted to create a play that could reach a wide audience. However, he recognized that producing a show like “The Morning Show” in Russia would be impossible.

In Russia, workplace sexual harassment is mostly covered by social media and a few foundations, not by state-funded TV channels. This realization brought him to the Tineodna Foundation, whose mission is to support women in difficult situations.

The Tineodna Foundation created a special webpage that serves as an online version of a theater stage, with an immersive twist. The set design features an image of a woman speaking on the phone, while the audio provides the audience with partial information about the plot. In this monologue, Rakov intentionally leaves space for the audience to imagine the words spoken on the other end of the line.

This creates an additional dimension where the abuser exists, his silence evoking the presence of a lurking monster, haunting the defenseless woman. The atmosphere of horror is palpable because no one should ever have to endure such a conversation. Rakov’s play has become a safe space for women seeking help, delivering a powerful message: no CEO should abuse their employees.

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