Within the first fifteen years, the theatre formed a repertoire with plays of nearly every genre. Each member of this uniquely versatile troupe is a professional actor, singer and dancer. The versatility has allowed the theatre to find not only its style, which became evident starting from the earliest performances, but also its own language of expression.

The Stas Namin theatre debuted with a Russian version of Hair, a legendary American anti-war hippie musical. The first performances at the Estrada Theatre coincided with the beginning of the Second Chechen War. At the press conference, the producers were accused of pacifism and lack of patriotism. Similar charges had been made against the original American version in 1968, at the height of the Vietnam War.

In 2008, the Namin theatre took part in the 40th anniversary celebrations of the first Broadway performance of Hair in New York City. It also appeared among the world’s top five troupes in a documentary on this play. Today, the Moscow Hair is the world’s ‘longest’: it has been performed for twenty years.

The theatre’s second show was a production of the iconic version of Jesus Christ Superstar, the only rock opera allowed to be performed at biblical sites of the holy city. It is also the only one played both in Russian and English in Russia.

Along with classical drama shows, such as Cosmos, based on Vasily Shushkin’s short stores, and NYC. The ‘80s. Us!, based on memoirs of an artist Mihail Chemiakin, the theatre has presented plays that, instead of conventional storylines, feature images combining poetry, music and choreography. The most prominent example is a reconstruction of Victory over the Sun, an avant-garde Russian opera that premiered in 1913. The show, dedicated to the centenary of Kazimir Malevich’s Black Square, toured Europe’s best venues: Basel (Switzerland), Paris (France), Ravenna (Italy), Thessaloniki (Greece), etc. It was praised by critics and the media.

That show was followed by two song-and-dance pieces: The Dweller of the Heights  with lyrics by Velimir Khlebnikov and a jazz rock score by Alexei Khvostenko and Auktyon; and S-Quark based on a symphony of the same title by Namin. The scenic design of the latter faithfully reproduces Fragile, a painting by an avant-garde artist Vasily Kandinsky. In the autumn of 2018, the show caused a sensation at the festival of contemporary experimental theatre in Egypt. 

The troupe has also explored contemporary theatre — in Unbearably Long Embrace based on a play by Ivan Vyrypaev as well as in Breath of Time and Killed by Domesticity by a rap poet Oleg Grouz.

Nowadays, the main concept of the theatre is expressivity based on a synergy of genres. It can be achieved thanks to the actors’ advanced acting, dancing and singing skills as well as due to such state-of-the art technology as virtual scenic design, panoramic video projection and 3D audio.

Namin’s musicals The Snow Queen and The Little Prince have been popular with young audiences for years. The shows were reinvented using new projection technologies. The actors are performing live within a 360° video projection.

Another musical for children, played to a full house in Moscow and often performed in other cities, is Town Musicians of Bremen. This original version was produced under a guidance of the composer, Gennady Gladkov.

Since 2011, the theatre has offered drama classes for children. Kids aged three to seventeen study acting skills, artistic diction and movement, singing and choreography. In the spring of 2019, the students brought their show to the Youth Space, a festival in Sochi, and won a prize for Best Art and Music Direction. Over the years, more than a thousand children attended the classes.