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Tamara in L.A.
| Article
# : |
10669 |
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Section : |
THE ARTS
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| Issue
Date : |
1 / 1986 |
670 Words |
| Author
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Jeff Church
Jeff Church is a playwright-in-residence at The John F.
Kennedy Center for the Performing Arts Programs for Children
and Youth. |
Ah, Hollywoodland, what will they dream up next? Imagine, if you will, a theater production that actually encourages you leave the room if you are not intrigued with the plotline at a particular moment. In Tamara the rules are this: you choose one character and follow that character throughout a gorgeous 1920s villa and witness from room to room how this player fits into the whole scheme of things. Up to eight different scenes are going on at any given time in different parts of the house, and the action is so impeccably timed that the actors can swiftly enter and exit a scene with no break in the timing, even though they might be traveling from a basement boudoir to the master's bedroom on the top floor.
You are spy, observer, comrade, intimate friend to the players in a plot which entertains the idea of a wealthy political philanthropist, Gabriele D' Annunzio, placed under house arrest in his very own home (read "mansion"). This man occupies his time by inviting only the most intriguing (and most beautiful) people to take up residency with him. One of these beauties is Tamara, young aspiring artist commissioned to paint D' Annuzio's portrait, arriving the very evening we see the play, January 10 1927.
The play defies any complete synopsis as the ten different actors often times appear in two character scenes involving many various relationships and plots and subplots and the whole thing just multiplies. The story which becomes "super plot" is the search for a Mussolini conspirator who wishes to see D' Annuzio's demise. Yet, this has little to do with a fabulous moment when Tamara storms from the house, jumps in her period automobile and quite literally drives away, right down the street. What, when, where why, you
... (1991 of 3753 Characters)
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