Frida Kahlo

Feel free to dream with ‘Frida Libre’

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By John Lyle Belden

The main critique, and recommendation, we can make of “Frida Libre” by Karen Zacarias, on stage through Aug. 2 by Fonseca Theatre Company, is that this is clearly made to be seen by children.

Based on the life of young Frida Kahlo – a girl who wanted to become a doctor but would grow up to be a world-famous artist – the story of this musical (music by Deborah Wicks La Puma) is presented by her school classmate Alex (Abner Torres Delina Jr.). He is a very shy boy who becomes project partners with a very loud girl, Frida (Flor Mojica), with colorful clothes and a noticeable limp – and they only girl in the school.

All other roles are played by Jay Fuqua and Cara Wilson.

The stern teacher they address as Maestro (Fuqua) gives them an assignment to work together, a paper on “metamorphosis.” To research, they go to Frida’s bright blue house to look through her parents’ books. On the way, we find that Alex is afraid of heights and Frida, though not admitting fear, is reluctant to ride the city trolley (a bit of foreshadowing, for those who know).

Becoming aware they are both dreamers, each reveals their ideal inner self: He is Super Luchador (Fuqua), a masked wrestler in a white cape who crushes fear and saves lives. She is Frida Libre (Wilson), running free and working to heal the world. As they study, he shows an eye for details, while she reveals her talent at painting. With the help of a caterpillar in a strawberry jelly jar, they opt for a more elaborate presentation, sure to knock Maestro’s socks off.

Carried along with catchy tunes like “Paint Me a Picture,” “206 Bones,” and “Metamorphosis,” this one-hour narrative presents aspects of Kahlo’s upbringing in Mexico City with sufficient dramatic license to soften her pain and setbacks (though not shying away from them), making it relatable to young audiences. We even find how their dreams, seeming momentarily impossible, come true.  

Mojica, who also portrayed young Frida in the more mature production “La Casa Azul,” fits comfortably in her flower-embroidered slippers. Her charm brings us along to find this is about more than just the transformation of the insect in the jar. Delina eagerly easily connects with the kids of all ages watching, as Alex finds himself growing as well.

Fuqua and Wilson add to the fun, especially as the heroic alter egos. Also, his Maestro comes across as appropriately intimidating, at least from the students’ perspective.

Speech and songs are mostly in English, which casually translates the numerous Spanish words sprinkled in – lending authenticity with understandability and enhanced educational value.

Chandra Lynch directed, with vocal direction by Josiah Ray McCruiston, choreography by Linda Thomson, and costumes by Cee-Cee Swalling.

There is one weekend left! Bring your children to “Frida Libre” performances Friday evening and Saturday and Sunday afternoons (July 31- Aug. 2), at 2508 W. Michigan St., Indianapolis.

While there, see the paintings in “A Celebration of Frida, Luchadors, and Mexican Heritage,” a collaboration with Arte Mexicano en Indiana, in the lobby and next-door gallery.

For details and tickets, see fonsecatheatre.org.

In ‘Frida,’ IRT presents beautiful portrait

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By Wendy Carson

For those whose knowledge of Frida Kahlo is only that she was a Mexican painter with a unibrow, you are missing out on the history of this woman who was in herself a true force of nature, defying all odds to become a legend in her own right.

In “Frida: A Self Portrait,” at Indiana Repertory Theatre, author and performer Vanessa Severo embodies the feisty spirit of Kahlo. Her tale takes us from her sad beginnings to her death inside her home, the legendary Casa Azul.

Contracting polio in childhood, her father forced her to overcome her afflictions and endure the pain in order to become who he believed she should be. This stubbornness kept her going after, at age 18, she was severely injured by a bus. This broke numerous bones in her body, leaving her in agonizing pain for the rest of her life.

Her persistence led her to a mentorship (and eventual marriage) with the renowned artist Diego Rivera. Their tumultuous relationship opened doors for her but brought immense heartache as well. As with many artists, she died relatively unknown in 1954, but her rediscovery in the ‘70s led her to become a feminist icon.

Scenic Designer Jacqueline Penrod and Costume Designer Katherine Davis, aided by Rachael Cady’s clever lighting, provide a unique setting in the IRT’s more intimate upperstage that allows Severo to easily slip from one character or situation to the next, including herself – a young performer told she has a similar spirit, and whose research included going to La Casa Azul herself to find out. Director Joanie Schultz, who has worked with Severo on this at other venues, helps her fully embody each step of this woman’s inspiring (and heartbreaking) journey, as well as her own.

Having learned more about Kahlo in the past few years, I can say that I honestly believe she would be the first to applaud this show. If you feel hesitant, even if you care nothing for the subject, the storytelling style and acting are superb so you should give this masterpiece a chance.

Performances run through April 7 at 140 W. Washington St., downtown Indianapolis. Get information and tickets at irtlive.com.

Phoenix hosts stunning tribute to artist’s life, GHDT’s ‘La Casa Azul’

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By John Lyle Belden

“La Casa Azul” translates to “The Blue House,” the place where Mexican artist Frida Kahlo’s life both began and ended, the place she always called home, no matter where her celebrated and tragic life took her.

“La Casa Azul: The Musical” is a newly-revised production by Gregory Hancock Dance Theatre playing at the Phoenix Theatre in downtown Indianapolis. It combines dance and sung-through drama, much like a cross between a ballet and an opera with Latin-flavored music. The actors all embody various individuals and chorus parts, with the exceptions of Valerie Nuccio as Kahlo and JL Rey as her husband, muralist Diego Rivera – who vividly resemble their real-life counterparts – and Abigail Lessaris as La Muerte, the beautiful dancing embodiment of Death.

The whole these parts combine to is an exceptional theatrical experience: stunning, sad, humorous, thought-provoking and inspiring.

Nuccio holds our focus throughout, the hero of the story, winning our hearts despite no effort made to make us love her. Kahlo was brash and outspoken, an unapologetic Communist who hated America and its citizens’ condescending attitudes; still, above all she was a proud woman devoted to her homeland. But the stage also belongs to Lessaris, as Death is ever present. Never speaking a word, her movement and constant attendance speak volumes. At times, Kahlo can even sense her dancing near, occasionally even helping her to her feet to live another day – La Muerte is patient.

The ensemble includes Alyssa Lopez as Kahlo’s sister Christina; Johnathon Contreras as the boyfriend who was with her in a near-fatal accident; Bill Book as her father, who encouraged her to paint during her recovery; Onis Dean as various doctors who rarely give good news; and Dick Davis as Henry Ford (who Kahlo despised) and exiled Leon Trotsky (with whom she had an affair). Jessica Crum Hawkins, who played Kahlo in the 2015 premiere of “La Casa Azul,” portrays Trotsky’s wife.

Gregory Glade Hancock not only provided the choreography, but also the costume design, music and lyrics – with Kate Ayers. The songs flow as easily as the dancing, easing us through the plot. For clarity, a full synopsis is printed in the program. Stage direction is by Mexican artist Georgina Escobar.

The costumes are a vibrant tribute to Mexico and its culture, as well as the dapper decadence of New York in one scene. The set is adorned with a fractured portrait of Kahlo, a reminder of her many facets which only come together when we see her life completed.

For anyone with an interest in Frida Kahlo and her art, seeing this is almost a duty. Performances run through July 28 on the Russell main stage of the Phoenix, 705 N. Illinois St. See LaCasaAzulTheMusical.com for information and tickets.