Isadora Duncan's name conjures up images of flowing scarves, free love and the larger-than-life mother of modern dance. In TimeLine Theatre's elegant production, two days are recreated from the bohemian lifestyle of this American-born, internationally famous artistic trailblazer. The result is a surprisingly funny adult drama that provides a brief glimpse into the artist's passion.
Director Nick Bowling brilliantly stages Martin Sherman's historic dramedy (set inside designer Keith Pitts' sparse French drawing room) reverberating with the sharp angles and lines found in Ms. Duncan's unique choreography. Authentic costumes, from high couture to hired-hand drab, have been meticulously created by Bill Morey. And a special acknowledgment goes to Eva Breneman, whose hard work as language and dialect coach enabled the actors to fluently speak French, Russian, Greek, Italian, Swedish and English.
The play focuses on several important people and events surrounding the artist in 1923, a time when the dancer's life was on the brink of change. Isadora Duncan was an international sensation but because of her controversial lifestyle and outspoken political views, disaster loomed ahead. Married to Sergei Esenin, an alcoholic Russian poet, having recently lost her two young children in a tragic accident and teetering on the brink of poverty, the middle-aged dancer was at a crossroads. She desperately wanted to instill the spirit of creativity in the next generation but found herself penniless and banned from entering other countries.
Jennifer Engstrom commands the play as Isadora Duncan. Sultry, spirited and strong-willed, the actress finds both the wild passion and the sad vulnerability in this legendary woman. Around her revolves the rest of her universe. Alejandro Cordoba, an extremely talented young actor, not only masters his role in three languages and plays the piano with finesse, but carries off an innocent worldliness that is intoxicating to watch. Patrick Mulvey's mad, passionate, booze-ridden Bolshevik speaks only Russian throughout the play and yet says so much more than mere words convey. Janet Ulrich Brooks, an actress I'd pay to hear interpret the yellow pages, gives unbelievable depth and strength to Miss Belzer, the multi-lingual interpreter and confidant hired by Isadora Duncan to translate whenever needed. In the hands of a lesser company of artists, this play might have lacked power and impact, but TimeLine’s production quite simply dances.
Reviewed by Centerstage!
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