A Fairy Tale Amid War
Anniversary Season “The Golden Age of the Fairy Tale Theatre 105–65”
There are theatres that grow together with generations, become part of a city’s memory, and remain an unwavering source of light. The Kharkiv Theatre for Children and Youth is one of them. It is more than a stage with wings — it is a space where children’s laughter is born, where adults learn to dream again, where a fairy tale shields the heart from darkness.
We keep going because we feel that now, more than ever, this fairy tale is needed. Faith in goodness, love, and light that dispels the dark — these are the values that lead us forward and give us strength. That is why we always return home — to the theatre, where children await us, our audience, those for whom a fairy tale is not just a story, but a lifeline, a ray of hope and warmth. As long as it is told, together we can endure any trial, for light is always stronger than darkness.
The Kharkiv Theatre for Children and Youth is considered the oldest children’s theatre in Ukraine. Its story began in 1920, when a theatre school was founded. In 1933, it received official status as the Kharkiv Young Spectator’s Theatre. Since then, its actors have brought the light of fairy tales to young Kharkiv residents — until 1941, when they had to leave the stage and go to the front. They never returned home: in 1944, the theatre was reborn in Lviv.
Kharkiv saw the return of its fairy tale only in 1960, thanks to chief director Feoktyst Oleksandryn and actor Les Serdyuk. Since then, the theatre has been reborn from the ashes three times — after the war, after a fire, and now — amid a new war.
This season, the theatre celebrates its anniversary — “The Golden Age of the Fairy Tale Theatre 105–65.” One hundred and five years since its founding and sixty-five since its rebirth in Kharkiv — these are not just numbers, but living memory and a symbol of resilience. Behind them stand dozens of generations of actors, hundreds of productions, thousands of young viewers who left the theatre changed — braver, kinder, brighter.
The Golden Age is not about outward glitter. It is about the gold that shines from within — in the eyes of children, in the hearts of parents, in the memory of Kharkiv, which again and again awaits its fairy tale.
In February 2022, the theatre faced a new war. Some actors went to the front; others were forced to evacuate. Yet those who remained refused to let silence consume the stage. The first performances were held in the metro — for children living underground. Later, the theatre began touring communities across the Kharkiv region where evacuated children stayed.
When a missile blast shattered the theatre’s windows, Acting Director Arkadii Chadov said:
“What are windows? They’re eyes. The enemy tried to take our sight. But we healed our eyes — and kept performing.”
Because a fairy tale cannot be silent. It must be told — even in darkness.
The first premiere after the invasion was “How the Brave Little Tailor Searched for His Fear,” directed by Oleksandr Drachov. It became immediately clear that during wartime it was impossible to avoid the theme of facing fear and evil. For his productions, Drachov consciously chooses folk tales that resonate with the present and help audiences find strength and faith.
That is how “Such a Fairy Tale, That It’s a Fairy Tale” was born — based on several Ukrainian folk stories, from well-known ones like “The Wise Dulyana” and “How Ivanko Outwitted the King,” to rare ones, all woven into a single narrative.
The production was a true challenge: unlike the previous play, made from repurposed sets, this one was built entirely from scratch. Costumes and intricate props were designed by Chadov, while composer Dmytro Abramov wrote and performed live music on traditional instruments.
At the heart of the story stood Ivanko (played by Yurii Nikolaienko), embodying sincerity and light, opposed by the cunning Serpent and the wise Dulyana. Each actor played multiple roles, and the stage came alive with vivid characters — from the Cossack Hnat (Ruslan Romanov) to the Queen and the Bird Queen, both portrayed by Honored Artist of Ukraine Olha Dvoichenkova.
The premiere was a special event. In the audience sat children of soldiers and those who had endured great loss. Despite air raid sirens outside, the stage glowed with color, music, and energy. For many, Ivanko’s story became more than a fairy tale — it mirrored real life.
When a little boy ran onto the stage to “defeat” the Serpent, it became clear that children saw this struggle as their own, and the performance transformed into a symbol of hope and faith in the triumph of good.
Together with chief director Andrii Lebid, the theatre revived the once-beloved play “The Golden Chick” for the youngest audiences and their parents. The Golden Chick, the Fox, and the Wolf came to life again — gentle, kind characters that created an atmosphere of comfort and peace.
At the same time, the theatre presented a series of new productions, including familiar fairy tales. “Thumbelina” was performed even in a shopping mall parking lot, turning the cold concrete space into a magical world where a tiny heroine learned not to give up. “The Ugly Duckling,” “Oofti-Toofti,” “Mother Hulda” — each reminded audiences that even the weakest can overcome hardships, that goodness always finds a way, and that laughter and innocence can save us from despair.
These plays proved that a fairy tale is not an escape from life, but a way to fill it with light and hope.
For adults, the theatre prepared “Love Italian Style” — a light, sunny comedy full of humor and warmth. It reminded audiences that true feelings ask no one’s permission, not even war’s, and bloom under any circumstances. The play brought joy and lightness — things in short supply during hard times.
Later came “Three Penguins” by Ulrich Hub — not just a funny story about three characters, but a profound tale of friendship, support, and staying together in difficult times. Blending laughter with tenderness, the play offered both children and adults an hour of respite from sirens and danger — a reminder that even in the darkest moments, one can find trust, warmth, and hope.
The adult production “Momo + Popo” by Sébastien Thiéry became an important artistic step for the theatre. It explored themes especially poignant during wartime — motherhood, loss, family, acceptance, and love that knows no borders. The play reminded audiences that real family is born not only from blood ties but from the heart — from the ability to support and love, even in the hardest moments. It also highlighted inclusivity: on stage stood diverse children and adults, and every voice was heard equally.
Another artistic exploration of human emotions was “A Fairy Tale About Fear” by Oleh Mykhailov. It touched on the most painful — the shadow that lives in every heart that has heard explosions or spent nights in shelters. On stage, this fear lost its power: it never disappears completely, but becomes smaller when you dare to face it. The performance offered relief not only to children but also to their parents, fostering a sense of unity and faith that even after the darkest night, dawn will come.
Together — through new premieres and familiar stories, children’s and adult performances — the theatre has proven that it not only survives, but truly lives. It brings smiles and reflection, expands its repertoire, seeks new forms, and remains present — in times of joy and in times of trial.
Even as generations of actors, directors, and viewers change, the theatre continues to carry the same fundamental values.
Our troupe is the heart, soul, and strength of the theatre. Among those who have created and continue to create fairy tales on stage are Andrii Fedorovych Hapanovych and Andrii Andriiovych Hapanovych, Honored Artist of Ukraine Olha Yakivna Dvoichenkova, Yurii Olehoviсh Nikolaienko, Nataliia Anatoliivna Perepelytsia, Ruslan Volodymyrovych Romanov, Svitlana Volodymyrivna Symonenko, Liudmyla Viktorivna Udachyna, Vira Petrivna Mykhailenko, and Oleksii Mykhailovych Brytkov.
Each of them brings mastery, energy, and love for the fairy tale to the stage — keeping the theatre alive, laughing, dreaming, and shining for its audience.
Every new performance is born of faith in goodness, of the need to create a fairy tale that teaches, supports, and inspires — passing on light and hope from one generation to the next.
Because a fairy tale lives wherever there is a heart ready to believe, love, and share warmth — and these values remain unchanged, even as the face of the stage changes.
Ahead lies the anniversary season that unites past and future. Looking back, we see the path we have walked — and the space for new discoveries ahead.
The audience can expect new performances now in rehearsal — some kept as surprises, to preserve the joy of anticipation.
But the certainty that they are born from the same need for the fairy tale that helped us survive the darkest days makes the future bright and full of hope.
Because theatre is more than a stage.
It is the beating heart of the city, in rhythm with Kharkiv.
It is a child’s laughter louder than a siren.
It is hope that grows even through ruins.
And as long as we walk onto the stage, as long as children believe in goodness, as long as the fairy tale is told — Kharkiv will stand.
Ukraine will stand.