"Woman Before a Glass" - Peggy Guggenheim
Staged at TheaterWorks in Hartford and running through May 21, "Woman Before a Glass" is illuminating -- after its first twenty minutes or so. The mid-1960s piece captures art collector Peggy Guggenheim who, at the outset, is not the most appealing of individuals.
Deft, versatile actress Glynis Bell appears in stained beige dress during the first of four portions of Lanie Robertson's play. As the self-inflated socialite, Bell is concerned with the garments she carries, with her bra which is giving her trouble. While it's important to pay attention during the first moments, who really cares?
But, "Woman" evolves into a compelling, moving work. Thanks, then, to Jeff Cowie's splendid set design, Matthew Richards' varied lighting, and Alejo Vietti and Elizabeth Flauto's wardrobe changes. Steve Campo knows the material and strikes the appropriate balance between direction and release of the actor to imagine and create.
Really, though, this is a splendid bit of acting by Bell who is out there by herself for ninety-five minutes.
The play intrigues as Peggy imagines her daughter, the lovely Pegeen (an artist) bathing behind a wall. Eventually, Peggy thinks of her father, who perished when the Titanic went down. Finally, Peggy receives word that her daughter is no longer, having (evidently) committed suicide.
The musings about art, the reference to the "bad" uncle, Solomon Guggenheim, the allusions to Picasso, Dali, Ernst, Miro and so forth.....well, someone must be interested in this business.
"Woman Before a Glass" rivets, though, when Bell, sitting inside not merely Guggenheim's clothing but her skin, as well, reflects upon men in her life: the one she loved; her father....and others.
That's when the charade drops and she is no longer able to sustain a facade. Bell is an actress who is at home taking words to an audience. Her comfort zone, because she has totally mastered this script, allows her to become her character. That, in itself, is enviable. It's impossible to define but so clearly identifiable.
So, Guggenheim's dissatisfaction with the shape of her nose is forgivable. A case could be made that the beginning (what seemed to me extraneous) section of exposition is necessary to set up poignant situations and latter tension. Let's argue about that.
Peggy Guggenheim was a complex, engaging woman. Glynis Bell brings that home.
Commentary: Critics are people, too. Sometimes, those writing about plays are: tired, preoccupied, wishing they were elsewhere, not especially favorably disposed towards the subject matter......As my good friend Michael Blowen, former film critic for the Boston Globe, once said, "We're nothing but window dressing." Yet, these are power positions; we all realize reviews help make/break the arts.
Are critics open to dialogue? I emailed Ben Brantley, of NYT, a long while ago, mentioning that I had a take on August Wilson's "Radio Golf" (final play) which varied from Ben's. Never did receive a response.
Deft, versatile actress Glynis Bell appears in stained beige dress during the first of four portions of Lanie Robertson's play. As the self-inflated socialite, Bell is concerned with the garments she carries, with her bra which is giving her trouble. While it's important to pay attention during the first moments, who really cares?
But, "Woman" evolves into a compelling, moving work. Thanks, then, to Jeff Cowie's splendid set design, Matthew Richards' varied lighting, and Alejo Vietti and Elizabeth Flauto's wardrobe changes. Steve Campo knows the material and strikes the appropriate balance between direction and release of the actor to imagine and create.
Really, though, this is a splendid bit of acting by Bell who is out there by herself for ninety-five minutes.
The play intrigues as Peggy imagines her daughter, the lovely Pegeen (an artist) bathing behind a wall. Eventually, Peggy thinks of her father, who perished when the Titanic went down. Finally, Peggy receives word that her daughter is no longer, having (evidently) committed suicide.
The musings about art, the reference to the "bad" uncle, Solomon Guggenheim, the allusions to Picasso, Dali, Ernst, Miro and so forth.....well, someone must be interested in this business.
"Woman Before a Glass" rivets, though, when Bell, sitting inside not merely Guggenheim's clothing but her skin, as well, reflects upon men in her life: the one she loved; her father....and others.
That's when the charade drops and she is no longer able to sustain a facade. Bell is an actress who is at home taking words to an audience. Her comfort zone, because she has totally mastered this script, allows her to become her character. That, in itself, is enviable. It's impossible to define but so clearly identifiable.
So, Guggenheim's dissatisfaction with the shape of her nose is forgivable. A case could be made that the beginning (what seemed to me extraneous) section of exposition is necessary to set up poignant situations and latter tension. Let's argue about that.
Peggy Guggenheim was a complex, engaging woman. Glynis Bell brings that home.
Commentary: Critics are people, too. Sometimes, those writing about plays are: tired, preoccupied, wishing they were elsewhere, not especially favorably disposed towards the subject matter......As my good friend Michael Blowen, former film critic for the Boston Globe, once said, "We're nothing but window dressing." Yet, these are power positions; we all realize reviews help make/break the arts.
Are critics open to dialogue? I emailed Ben Brantley, of NYT, a long while ago, mentioning that I had a take on August Wilson's "Radio Golf" (final play) which varied from Ben's. Never did receive a response.
posted by Fred Sokol at 4:49 AM
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