Ukrainian Theatre Claims Its Place in London with “The Witch of Konotop” at Hackney Empire

When “The Witch of Konotop” appeared on the stage of Hackney Empire, it marked more than a touring production. The performance coincided with the 106th anniversary of the Ivan Franko National Academic Drama Theatre, transforming a London evening into a moment of historical significance for Ukrainian culture.

Founded in 1920, the Franko Theatre has endured censorship, ideological pressure, displacement and war. Celebrating its anniversary abroad did not signal loss, but resilience. Ukrainian theatre continues to move — carrying its voice, language and authority into new cultural spaces.

Based on the satirical novella by Hryhorii Kvitka-Osnovianenko, “The Witch of Konotop” dismantles the mechanics of power, superstition and collective fear. Under the direction of Ivan Uryvskyi, the production rejects folkloric nostalgia in favour of stark physicality and psychological tension. Comedy becomes unsettling, exposing how absurdity often masks violence and control.

The staging is minimal yet forceful. Light, movement and sound create a contemporary framework in which the actors confront the audience directly. The ensemble balances grotesque humour with precision, insisting that the text speaks to now — not to the past.

For British audiences, the themes land with striking clarity. Irrational authority, moral hysteria and fear-driven governance are not distant phenomena. The play’s Ukrainian roots deepen, rather than limit, its relevance.

There is an unavoidable political dimension. Ukrainian theatre touring internationally during wartime carries quiet defiance. Yet “The Witch of Konotop” does not ask for empathy. It assumes cultural parity — and demands engagement on equal terms.

That this moment unfolded at Hackney Empire, a theatre historically associated with satire and social critique, feels exact. Marking the Franko Theatre’s 106th year here was not symbolic nostalgia. It was a declaration of presence.

Ukrainian theatre did not arrive in London seeking validation. It arrived already complete.