Striking and unusual this was an intriguing performance combining poetry, dance and music which was inspired by the life, loves and times of Mexican artist Frida Kahlo and Caroline Bowditch’s (performer and director) own life.

Kahlo, severely injured in a horrific bus accident as a young woman, was forced to spend most of her life with great physical disability, at times painting in bed with a special device designed by her husband.

Bowditch in this work layering movement, music and text examines various issues in both Kahlo and her life, such as those of lust, love,  and looks at the legacy, that they as artists may leave behind. 

Australian Bowditch, now based in the UK, who has osteogenesis imperfecta, a brittle bone disease, is mostly in a wheelchair and her work as an artist involves creating forceful dance and theatre pieces.

As we enter the theatre space music is being played that Kahlo was known to like. The performers are already on stage.

The set featured a large central table and chairs in bold yellow. Green ‘cacti ‘ were shaped by lights, and three panels were suspended from poles at times acting as projection screen and were very effective in creating shadow play.

The cast wore dresses based on outfits from Kahlo’s paintings – beautiful blonde Welly O’Brien was in a green dress with a pink accent around the collar, Marta Masiero wore pink with a green accent. Caroline Bowditch was in flamboyant red and green. The three performers, embodying various aspects of Khalo, were are inspiring. Towards the end the dresses were removed to reveal white petticoats as in one of Kahlo’s paintings.

Parallels are drawn between Khalo’s and Bowditch’s lives . Kahlo was discussed through poetic fantasies and love letters. With a clever, witty and sensual script , Bowditch examined love affairs and sexuality in a thought provoking way.

Kahlo’s work was often unsettling , and I would have liked to have seen more variations of light and shade in the work . There could have  been more about her complex character and the hidden darkness in Kahlo’s oeuvre as well as the politics surrounding her legacy.

One moving section was when when a letter was read by the author as a voiceover .(A printed copy was on our seat at entrance) It was written by a woman who had known Bowditch as a child and had seen her briefly on television, and been moved to write to her now she was famous. Bowditch had previously commented on how Kahlo was such a major influence on her life, and how she hoped she had made a mark on others. This Bowditch certainly has!

Choreographically there was much concentration on the arms and top half of the body in tightly stylized and at times synchronized movement. There were angular elbows, twinkling hands, and outstretched despairing arms . There were some mesmerizing solos and rolling floorwork as well.

Eventually we were informed that drinks would be served, the cast passed them around and we all drink a toast to Khalo and her extraordinary life.

A very powerful and moving sequence was created towards the end where Bowditch spoke about the horrific bus accident  in which she was trapped at the age of eighteen.

A  pink ribbon was then used to symbolically tie, and then free O’Brien and Masiero, with the allusion to Kahlo’s ‘Two Fridas’.

Mention must also be made of Auslan interpreter Yvonne Strain who was also an important part of this great cast. She gave a clear, buoyant, joyous performance and was an inspiration.

This was a very thought provoking, stimulating performance.

Running time was an hour straight through.

FALLING IN LOVE WITH FRIDA played the Parramatta Riverside Theatre on the 4th and 5th March.