Frida Kahlo: A Portrait
Written
by Carlos-Manuel
Directed
& Choreographed by Carlos Chavarria
Reviewed by Keith Waits
Entire
contents are copyright © 2012 Keith Waits. All rights reserved
Frida
Kahlo: A Portrait is a work of dedication on the part of its creator,
Carlos Chavarria. In his director’s notes Mr. Chavarria details the motivation
to make his own statement about the famous Mexican artist after watching a film
and a play about her life and feeling less than satisfied. After a period of
research that included visits to Mexico and Friday Kahlo’s home, now a museum,
he spent years shaping his script and planning this production.
The devotion to the subject is evident in the
comprehensive docu-drama structure and fulsome biographical detail, as we
follow Frida from childhood through a lifetime making art and enduring a
tumultuous marriage to famed Mexican muralist Diego Rivera. Extensive narration
is delivered by a chorus of six actors who also rotate through supporting roles
as key people in Kahlo’s life, in scenes that develop characterization and give
us the opportunity to hear the titular character express her emerging philosophy
and radical worldview (Kahlo was a proud Communist).
The piece works best in these scenes, wherein the
actors are allowed time and space to connect to the audience. But the abundance
of narration spent cataloging incidents in Kahlo’s life is so exhaustive as to
be, at times, exhausting, and distracting from the emotionally impactful
moments. Too often the text seems to belabor the numerous extra-marital affairs
that complicate the marriage to Rivera and, later, the seemingly endless series
of health problems and arduous surgeries that plagued her later years.
As a director, Mr. Chavarria works hard to in
overcome these problems. The blocking is alternately formal, often ritualistic,
establishing a reverent tone that is broken up by instances of expressive and
energetic choreography; most notably in a macabre yet highly entertaining
number that opens up the second act. The colorful and evocative sets
and costumes (some of the items were handmade by Mexican Indians) as well as
an effective musical score that was smartly employed provide rich aural and
visual textures that lend authenticity to the production. The visual motifs are
dominated by Dia de los Muertos (Day of the Dead) iconography and include a
character named La Pelona, who represents death.
It is in this character that the play makes its
boldest statement, as the spectral, skeletal figure is an almost constant
presence, as portrayed here, the most significant relationship in Kahlo’s life.
Embodied as a fully realized and controlling physical presence by Amanda
Goebel, and featuring startling and beautifully executed make-up and costume,
it is a potent inclusion of magic realism. The notion of mortality leading
Frida through all of the pain and suffering, both physical and emotional, that
followed her throughout her life is powerfully depicted.
In the title role, Victoria Reibel is called upon
to express that agony in no uncertain terms, perhaps more often than is
necessary; but the young actress throws herself headlong into the role with
unparalleled energy and commitment. Despite an overbearing make-up design that
threatens to make the trademark prominent eyebrows too much the focus (perhaps
an always controversial element in any dramatic portrayal of the artist), Ms.
Reibel builds a solid and consistent characterization that breaks away from the
common perception of Kahlo as more emotionally reserved and delivers a
performance that, while at times over-emphatic, remains grounded enough to make
its go-for-broke attack seem a triumph.
If the writing overreaches, it seems to be from zeal
to be comprehensive in covering the life of its subject in fullest detail. Yet
the conception is fresh and exciting and the execution polished enough to
reveal a powerful and confident heart at the center. For fans of Kahlo, the
show offers welcome immersion in her story. Anyone unfamiliar with her will
encounter an engaging introduction couched in specific and vividly rendered
cultural context.
Frida Kahlo: A Portrait
November 9, 10, 15 & 16 @ 8 pm
November 11 @ 2 pm & 7 pm
November 17 @ 2 pm & 8 pm
Bellarmine University Theatre Program
Black Box Theatre, Wyatt Center for the Performing Arts
502-272-8188
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