A Weekend with Pablo Picasso
Casa 101 East Los Angeles
• Projection Design
Remount
Casa 101 East Los Angeles
• Projection Design
Remount
Publications & Reviews:
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Review from Backstage
LATC Production
https://www.backstage.com/review/la-theater/a-weekend-with-pablo-picasso/
Pablo Picasso's personality and reputation were perhaps as sensational and controversial as his paintings. In writer-performer Herbert Siguenza's view, the modern master wouldn't have had it any other way. Based on Picasso's writings, the solo show "A Weekend With Pablo Picasso" is a delightful character study that throws as much of a spotlight on Siguenza's affable presence and ease with the audience—and a paintbrush—as it does on the artist's life and work. But while it's fascinating to see blank canvases turn into paintings onstage and watch a terrifically talented performer truly embody Picasso, what the evening—er, weekend—doesn't do is venture very far beneath Picasso's surface.
Directed by Todd Salovey, the play gives us a colorful glimpse of the artist at 76, working nonstop at his home studio in France to churn out artworks at the behest of his dealer for a high-paying client. The construct of the show is that we in the audience are art students sent there by the dealer to watch him work and to ensure he completes his commissions. Giulio Cesare Perrone's set and costumes make us feel right at home, and Victoria Petrovich's projections add a lovely theatricality. Our primary focus is on Picasso's relationship to, and perceived responsibilities to, his art, as well as his role as an artist and an artist's role as a political being. We hear about his friendships with other artists—he unsurprisingly embraces Cezanne's quote "Painting is something you do with your balls"—and his views on current events. As it's 1957, he reacts to the Soviet control of Hungary, saying, "I don't understand the politics of the left anymore." The play even touches gingerly upon his famous quote about women being either "goddesses or doormats." And all the while the character onstage continually espouses an unrelenting, unforgiving need to go deeper and deeper into oneself to create art.
Again, it's a very cool thing to see that art created onstage. Dramatically, we want to go deeper into the kind of man a giant like Picasso may have been. But if we were to spend a weekend in anyone's studio, it should be with the "maravillosa" Siguenza.
LATC Production
https://www.backstage.com/review/la-theater/a-weekend-with-pablo-picasso/
Pablo Picasso's personality and reputation were perhaps as sensational and controversial as his paintings. In writer-performer Herbert Siguenza's view, the modern master wouldn't have had it any other way. Based on Picasso's writings, the solo show "A Weekend With Pablo Picasso" is a delightful character study that throws as much of a spotlight on Siguenza's affable presence and ease with the audience—and a paintbrush—as it does on the artist's life and work. But while it's fascinating to see blank canvases turn into paintings onstage and watch a terrifically talented performer truly embody Picasso, what the evening—er, weekend—doesn't do is venture very far beneath Picasso's surface.
Directed by Todd Salovey, the play gives us a colorful glimpse of the artist at 76, working nonstop at his home studio in France to churn out artworks at the behest of his dealer for a high-paying client. The construct of the show is that we in the audience are art students sent there by the dealer to watch him work and to ensure he completes his commissions. Giulio Cesare Perrone's set and costumes make us feel right at home, and Victoria Petrovich's projections add a lovely theatricality. Our primary focus is on Picasso's relationship to, and perceived responsibilities to, his art, as well as his role as an artist and an artist's role as a political being. We hear about his friendships with other artists—he unsurprisingly embraces Cezanne's quote "Painting is something you do with your balls"—and his views on current events. As it's 1957, he reacts to the Soviet control of Hungary, saying, "I don't understand the politics of the left anymore." The play even touches gingerly upon his famous quote about women being either "goddesses or doormats." And all the while the character onstage continually espouses an unrelenting, unforgiving need to go deeper and deeper into oneself to create art.
Again, it's a very cool thing to see that art created onstage. Dramatically, we want to go deeper into the kind of man a giant like Picasso may have been. But if we were to spend a weekend in anyone's studio, it should be with the "maravillosa" Siguenza.
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