Reviews

Reviewed by Var Smith

In only ninety minutes, with intermission, playwright Lanie Robertson introduces Alfred Stieglitz and Georgia O'Keeffe to each other and successfully dramatizes the impact they had on each other's life – and how they advanced American Modern Art in the 20 th Century. It's a satisfying melding of creativity on several levels: the intense relationship between two gifted artists (and the synergy with the playwright), the flesh and blood performances by actors Jim Ortlieb, as Stieglitz, and Pamela Gaye Walker as O'Keeffe, and the inspired vision of Director Mary-Pat Green.

It's 1946, and the great photographer has died. O'Keeffe has lugged a pine coffin through the streets of New York, and the ghost of Stieglitz appears to her in their salon. Through flashback scenes we witness their meeting and their life together, as lovers and as husband and wife. When they meet, Stieglitz has already successfully fought to advance photography as an accepted art form, while O'Keeffe is at the beginning of her creative journey. He is 23 years older than she is, and he still has never before met anyone like her. Stieglitz is so intrigued, challenged, and mesmerized, he leaves his wife and daughter to spend the rest of his life with the young artist.

Ortlieb is terrific as Stieglitz – a lusty, opinionated, uncompromising, and impatient man. O'Keeffe treats him badly at first, because Stieglitz has exhibited her early charcoal drawings without her authorization at his famed 291 Gallery. However, Stieglitz, an early supporter of Matisse and Picasso, has an eye for young talent.

Walker beautifully conveys O'Keeffe inner turmoil, self-centeredness, and eroticism. (Through watching interviews and reading her writings, modern psychiatrists have diagnosed O'Keeffe as bipolar, which is certainly evident in her volatility – sensuous and playful one minute, withholding and insecure the next.)

O'Keeffe shocked Stieglitz at their second meeting by spontaneously removing her clothes for his camera. She appeals to his hidden but deep passion for the erotic. His nude studies of her were among the most daring captured by the photographer. Despite her sensual nature, O'Keeffe is later surprisingly defensive when critics describe her large bulbous flowers as representations of female and male genitalia.

Stieglitz's photographs and O'Keeffe's paintings are projected on panels above the stage. It is a highly effective devise that adds authenticity to the production. In addition, there are excellent sets by Andrea Favilli and authentic costumes by Dennis A. Parker. The Fremont Centre Theatre's intimate stage is especially suited by this intriguing two person drama – an entertaining, informative, and compact play about two of the twentieth century's most complex artists.