Stage Review - Frida…A Self Portrait (Union Arts Center)

Stage Review - Frida…A Self Portrait
Presented By: Union Arts Center - Seattle, WA
Show Run: June 06 - June 28, 2026
Date Reviewed: Thursday, June 11, 2026 (Opening Night)
Run Time: 75 Minutes (no intermission)
Reviewed by: Greg Heilman

Few artists have become as synonymous with self-portraiture as Frida Kahlo. The Mexican painter transformed the hardships of her life—including chronic pain resulting from a devastating bus accident, turbulent relationships, and questions of identity—into works of art that remain instantly recognizable nearly seventy years after her death. Her paintings were deeply personal, often examining not only how she saw herself, but how she wished the world to see her. It is fitting, then, that Frida: A Self-Portrait, now on stage at Union Arts Center through June 28, takes a similarly personal approach to telling her story.

Written and performed by Vanessa Severo and directed by Joanie Schultz, the production is not a conventional biography. Nor is it the sort of one-person historical presentation audiences have likely encountered before, where an actor simply recounts the major events of a famous person’s life as if they are simply bullet points to be listed out. Instead, Vanessa has created something far more engaging. Presenting Frida’s story largely through a first-person perspective, she approaches the material as though Frida herself is being interviewed. It is a subtle distinction, but an important one. Rather than feeling like a history lesson, the narrative becomes a conversation, one that allows Frida’s personality, humor, determination, and vulnerability to emerge naturally.

Just as effective are the moments when Vanessa steps outside of Frida’s story altogether. Throughout the evening, she addresses the audience as herself, sharing personal experiences and reflections that illuminate the connection she feels with the artist. These passages never feel self-indulgent. Instead, they deepen the audience’s understanding of both women, revealing how art can bridge generations, cultures, and life experiences. By allowing her own story to intersect with Frida’s, Vanessa transforms the piece from a biography into something much more intimate and universal.

The combination of these aspects of her performance reinforces (to me at least) that this is the way a one-person show should be done. The success of such a production depends entirely upon the performer, and Vanessa proves captivating from beginning to end. Holding the audience’s attention for seventy-five minutes is no small task, but she accomplishes it through a combination of storytelling, character work, humor, and emotional honesty. The result is a performance that never feels static, instead drawing the audience into Frida’s world while simultaneously inviting them to reflect on their own experiences.

What makes Vanessa’s performance particularly impressive is her ability to populate the stage with an entire cast of characters. Through shifts in posture, physicality, voice, and accent, she clearly differentiates the people who influenced Frida’s life. Whether portraying Frida herself, her father, a doctor, or others who enter the story, each feels distinct and entirely human. The accent work is especially noteworthy, helping establish character while remaining natural enough that it never calls attention to itself. The transitions between personalities are smooth and effortless, allowing the audience to focus on the story rather than the mechanics of performance. Bringing the amount of characters to life that she does requires both talent and preparation, and an expertise to do so at a pace that keeps the audience involved in the story. Frida…A Self Portrait feels, in a way, like an ensemble piece, but with an ensemble of one utterly talented actor.

Joanie’s direction understands that intimacy is one of the production’s greatest strengths. Rather than relying on elaborate staging, the focus remains squarely on the storytelling. Everyday objects become powerful theatrical tools, transformed by Vanessa’s performance and the audience’s imagination into whatever the moment requires. The result is a production that feels personal, immediate, and authentic. Scenic designer Jacqueline Penrod creates an environment that supports that approach beautifully. Centered around a larger than life four-poster bed, the set evokes both a bedroom and an artist’s workspace. It feels like a space where memories, creativity, and emotion coexist. The simplicity of the setting allows the audience to focus on the story while still providing a visually compelling backdrop.

Costume designer Katherine Davis brings what is my favorite part of this design, costumes that are actually set pieces and used by Vanessa to bring all of these characters to life, embracing the themes of personal expression and identity. The costumes become extensions of the storytelling itself and rather than functioning solely as costume pieces, they help illustrate the ways in which Frida crafted and presented her own image, reinforcing the relationship between art and self-expression that lies at the center of the play.

The technical elements make a substantial contribution throughout. Rachel Cady’s lighting design, assisted by Cami Taliaferro-Barber, fills the stage with color and texture, creating imagery that evokes the vibrancy of Kahlo’s artwork. The production frequently bursts with rich visual palettes that bring emotional weight to the storytelling while honoring the aesthetic sensibilities associated with Frida’s paintings. Thomas Dixon’s sound design and original compositions work hand in hand with the lighting, creating an atmosphere that feels immersive without overwhelming the performance at its center.

Frida…A Self-Portrait is a story about finding meaning through art. It explores how creative expression can help us process pain, celebrate identity, preserve memory, and connect with others. By intertwining her own experiences with those of one of history’s most celebrated artists, Vanessa Savero has created a work that feels deeply personal while also bringing to life a woman’s tragic life, one that led to a plethora of extraordinary creations. The result is a thoughtful, engaging, and emotionally resonant performance that demonstrates exactly how powerful a one-person show can be when placed in the hands of an artist with something meaningful to say.

Frida…A Self Portrait, written and performed by Vanessa Savero, runs on stage at Union Arts Center in Seattle through June 28. For more information, including ticket availability and sales, visit https://www.unionartscenter.org/.

Photo credit: Zach Rosing