Adelina Gizatullina

The Vakhtangov Theatre premieres “Frida: Life in Color”, directed by the young director Leila Abu-al-Kishk. The production, at times strikingly unconventional in its theatrical language, introduces the audience to the biography of Mexican artist Frida Kahlo, whose life was both colorful and dramatic.

It is worth noting that the literary foundation of the play is Nika Simonova’s script, based on the artist’s biography and documentary materials from her era. This is a challenging form to bring to the stage, but Leila Abu-al-Kishk has created a highly engaging production. The play flows effortlessly from start to finish. The leading roles are performed by young actors—Adelina Gizatullina (Frida Kahlo), Polina Chernysheva, Andrey Udalov, and others.

The production addresses an important theme: the image of a strong woman. It tells the story of Frida’s complex fate and her relationship with Diego Rivera. Pain serves as the central source of inspiration for Frida and acts as a leitmotif throughout the play. Yet, as the artist herself said, “I am not afraid of anything.” According to the main character, there were two accidents in her life: the bus and Diego. Both left an indelible mark on the intricate design of her destiny.

From the very first moments, the play impresses with the precision in the portrayal of the characters—Frida, Diego, Trotsky, and others bear an almost portrait-like resemblance to their real-life counterparts. At the beginning, the staging may seem highly unusual and peculiar—abrupt transitions, the heroine changing costumes onstage, and whimsical physicality—but gradually, the audience adapts to the author’s narrative style and begins to engage fully with the carefully and artistically structured world presented.

Special mention should be made of the scenography: large lace panels literally fill the stage, becoming characters in their own right. With subtle, almost imperceptible movement, they transform into furniture and functional props. Every detail is meticulously considered: exact costume replicas, diary excerpts, and even authentic Spanish pronunciation at moments when the characters briefly stop speaking Russian, particularly during the most intense scenes. All of this creates a stunning overall effect. Traditional Mexican music further enriches the production, ensuring an immersive experience, enhanced by both live music and the performance of national songs.

When depicting the life and work of such a unique and independent artist, it is difficult not to reference her paintings. Yet, the creators of this production have succeeded—surprisingly, you will not see a single canvas on stage. And still, this does not prevent the audience from diving into Frida’s inner world of dreams, fantasies, colors, and images. The production was crafted by a close-knit team of like-minded collaborators, and this is strongly felt. This approach to documentary-artistic theatre deserves special attention, as it not only evokes emotions and conveys experiences but also provides new opportunities for ethical and aesthetic reflection and enjoyment.