Sunday , July 21 2024
Tina Modotti's fascinating life deserves a much better telling than it gets in this very bad play.

Theater Review (NYC): Modotti by Wendy Beckett

The Italian photographer Tina Modotti (1896-1942)—artist, agitator, femme fatale—led a fascinating life at the intersection of art, politics, and idealism. A silent-movie actress, a comrade-in-arms of Diego Rivera in Mexico, a documentarian of and participant in the Communist movement, she deserves to be better known—and for her story to be much better told than this very bad play tells it. Modotti—by Wendy Beckett, author of the flawed but far better Anaïs Nin: One of Her Lives—is the worst thing I've ever seen Off Broadway.

Episodes in Modotti's life play out disconnectedly. Tina (Alysia Reiner) moves from political crisis to crisis and from lover to lover. Her unfortunate, idealistic husband is played by Andy Paris as a vain dandy one would think utterly unappealing to the deep-thinking and emotionally demanding Tina. The photographer Edward Weston, who becomes her mentor and lover, gets a wooden, mumbling, Shatner-esque portrayal by an utterly lost Jack Gwaltney. Suffering like the rest from a lack of direction, Marco Greco's Diego Rivera blusters through scene after interminable scene like a John Belushi character searching for a funny line. Only the young Cuban revolutionary whom Tina takes up with later on (played, again, by Paris) evinces the slightest bit of chemistry with our heroine, making their brief Act II bedroom scene one of the very few bright moments in a long, dull evening.

I wasn't sure whom I felt sorrier for, myself or the actors forced to deliver the painfully stilted dialogue through which the playwright insists on telling, not showing, this inherently interesting story. And with all that, we don't even get a good history lesson, as the script fails to provide enough of the context that a historical piece like this needs. The large projections of Modotti's bluntly beautiful photographs and Rivera's famous agitprop murals give a sense of what was at stake artistically and how socialist idealism fed the art of these passionate, creative minds. But the stills, alas, have a good deal more vibrancy to them than most of what happens on stage.  

Though Ms. Reiner starts off well, smoldering through the first scene, that bit of life is all too quickly extinguished amid the dry, amateurish exposition that follows. No Italian accent, no charismatic sexiness, no acting skills could be enough to give her a chance of salvaging this poorly conceived and poorly executed play.

Modotti runs at the Acorn at Theatre Row through July 3.

About Jon Sobel

Jon Sobel is Publisher and Executive Editor of Blogcritics as well as lead editor of the Culture & Society section. As a writer he contributes most often to our Music section, where he covers classical music (old and new) and other genres, and to Culture, where he reviews NYC theater. Through Oren Hope Marketing and Copywriting at http://www.orenhope.com/ you can hire him to write or edit whatever marketing or journalistic materials your heart desires. Jon also writes the blog Park Odyssey at http://parkodyssey.blogspot.com/ where he is on a mission to visit every park in New York City. He has also been a part-time working musician, including as lead singer, songwriter, and bass player for Whisperado.

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