Kholstomer is a new production at Theater 86 in New York by renowned Uzbek director Nabi Abdurakhmanov who served as the director of the Youth Theater of Uzbekistan for a quarter of a century.

The plot of Kholstomer centres around an old piebald gelding newly acquired by a large stable who is bullied by other horses. The play begins with a group of horses discovering they've been mistreating the legendary Kholstomer. Moved by this, they seek to uncover his life story. Kholstomer starts to tell the story of his life from his days as a young foal, his service under an illustrious hussar officer named Serpukhovskoy, and finally how he came to be in his current condition. The narrative then shifts to a human perspective, revealing details of Serpukhovskoy’s life, before returning to the gelding’s point of view.

If you have read Leo Tolstoy’s novella ‘Kholstomer: The Story of a Horse’ and have never seen it on stage, you might wonder how such a story could be adapted for the theatre. It all started in 1975 in St Petersburg, when young and ambitious director Mark Rozovsky (b. 1937), approached Georgi Tovstonogov (1915–1989), head of the Big Drama Theatre with the idea of creating a stage version of Kholstomer. After they fell out, Tovstonogov decided to direct the production himself and what became ‘The Story of a Horse’ went on to run at the theatre for many years.

Nabi Abdurakhmanov (b. 1958) first staged his ‘Kholstomer’ in Israel in 1998 at Beit Zvi Theater School, at the stage of the Ramat-Gan Theatre. He then took the production to the Youth Theatre of Uzbekistan, where it remained in their repertoire for two decades. During this time the show toured throughout Russia, and took part in many theatre festivals, including in the two cultural capitals of Russia, Moscow and Saint Petersburg.

The New York production is a collaboration between ESSENCE Theatre-Studio, run by Abdurakhmanov, and Theater 86, formerly known as the Russian Arts Theater and Studio. In an interview with Art Focus Now, ‘Kholstomer’ producer Katya Saturday said work started on the it over a year ago and ESSENCE hosted several showcases in Manhattan, Brooklyn, and Jersey City, in which excerpts from the play were staged.

“Theater 86 noticed our work and offered us an incredible collaboration with their space,” Saturday noted. Some of the ‘Kholstomer’ cast members come from ESSENCE, while others are part of Theater 86. At the same time, the Youth Theatre of Uzbekistan has been supporting the production behind the scenes with technical expertise, including outlines for props and set design.

Among the cast and crew are two of Abdurakhmanov’s children, both prominent artists in their own right. Obid Abdurakhmanov, who plays the title role of Kholstomer, served as Artistic Director of the Youth Theatre of Uzbekistan from 2016 to 2021. After moving to the US, he became one of the leading actors at ESSENCE Theatre and starred in Theater 86’s production of ‘Master and Margarita, or The Devil Comes to Moscow’.

Kamilla Abdurakhmanova, who plays Brownie, was also Kholstomer’s choreography tutor who worked with the cast to recreate the original choreography by Shukhrat Tokhtasimov and Malika Iskandarova. A precocious talent, Kamilla began her career at the tender age of ten. She has acted in numerous productions and written plays and songs for musicals. Kamilla studied under Shukhrat Tokhtasimov (b. 1960) and Malika Iskandarova, who choreographed the original production of ‘Kholstomer’ in Uzbekistan, and later she became the lead choreography teacher for the cast of the current production, faithfully recreating the original dances.

Although largely based on Rozovsky’s original text, Abdurakhmanov’s ‘Kholstomer’ is fundamentally different from Tovstonogov’s ‘The Story of a Horse’. Abdurakhmanov adapted Rozovsky’s version slightly, making small edits to streamline the text, but preserving the original verses by Yuriy Ryashentsev. Abdurakhmanov met with Rozovsky before staging the production in Israel.

The new high-octane production incorporates elements of contemporary dance. While the producers describe it as “Leo Tolstoy meets the musical Cats”, a more fitting comparison might be Cirque du Soleil. There are complex stunts reminiscent of the circus or gymnastics.

The set designs by artist Igor Gulenko (1950–1999) are simple and do the job evoking stables and a paddock. The horse costumes by Vassa Vasileva (b. 1974) are different from those in Tovstonogov’s production. They have been updated for today’s audiences: sleek, minimalist harnesses are worn over plain grey and black clothing.

Just as in the novella, the production shifts fluidly between the world of horses and that of humans. Most of the actors play multiple roles. For instance, the old mare Vyazopurikha played by Deborah Gerofsky, who recognizes Kholstomer as the famous horse he is, transforms into Mathieu, Serpukhovskoy’s mistress, and later into Marie, his friend’s lover.

Anatolii Ishchenko (b. 1996) plays both the horse nicknamed Darling and an officer friend of Serpukhovskoy. Can Deniz Ezraim also plays one of the horses as well as Serpukhovskoy. The actors’ costumes are transformed with simple additions like a jacket or a dress layered over the harnesses, with the horse always visible underneath.

The score for the New York production also differs from Tovstonogov’s version. It was composed by Dmitri Yanov-Yanovsky (b. 1963), known for blending musical influences from his native Central Asia with postmodernist styles.

The production is not just visually striking and physically demanding, it also explores the timeless themes found in Tolstoy’s work: freedom, dignity, and the search for meaning. For Abdurakhmanov, the show is not simply a literary adaptation, but a deeply philosophical work. He sees Kholstomer as a unique being, destroyed not only by humans, but also by horses, who fear his otherness. 

As Abdurakhmanov told the Art Focus Now: “I believe that theatre is not just a place for sharing thoughts. I think God gave us this art form because only in theater can actors and audiences become creators together and create life. I hope this story feels especially relevant today, because it speaks to our shared responsibility to remain united. ‘Kholstomer: The Story of a Horse’ is a story about the eternal quest for freedom and the high flight of soul. It is not just a story about horses – it’s a story about Pegasus.”