Vivien
Vivien Leigh’s personal and professional life seems writ by the likes of Shakespeare. Ironic then, that this celebrated beauty was obsessed with playing one of the Bard’s tragic heroines.
Her desire to be taken seriously as an actress after playing the memorable role of Scarlett O’Hara in Gone With the Wind and later, Blanche DuBois in A Streetcar Named Desire continued to haunt her, mar her and fray at her nerves in Judith Chapman’s steely, spit-fire but vulnerable depiction. Brazen, bold and bordering on a mental breakdown aided by her jealous second husband, Laurence Olivier, Chapman captures the fierceness and insecurity Rick Foster keenly weaves in a breathless 90 minutes that spans a troubled lifetime, a glamorous career and a heart wrenching demise of a woman who can do anything but strike, “a delicate balance.”
The play begins with Vivien debating the madness of Edward Albee’s Agnes in his Pulitzer-winning drama, “A Delicate Balance,” – a role that she would never get to portray but on the face of it, seem as if it would’ve been tailor made for her. Chapman, a veteran daytime and stage actress carefully shirks away from a straight impersonation, bringing her own luminous charm and talent to light on the desperation that wreaks havoc on Vivien’s health and sanity. There is a likeness however, particularly when Vivien is seated at her well-lit vanity table. In the sanctuary of her dressing room, sparely suggested by Stephanie Kerley Schwartz—an excellent show of artistic restraint considering her handsome, elaborate sets from “Sunset Limited,” “Small Engine Repair” and “Blackbird,” Vivien holds court by having imaginary conversations with all the important and caustic people in her life. There’s enough to fill a large theater.
Originally produced at the Sierra Repertory Theatre in Sonora almost fifteen years ago with Janis Stevens, this one-woman tour de force reveals Chapman’s expert handling as she pivots between complex, conflicting emotions while maintaining a solid equilibrium, even as she descends into fits and screams of madness. Chapman doesn’t just shriek, she ricochets off the walls and unrelentingly punishes with violent wailing that is absolutely hair-raising. If all of this sounds melodramatic, it truly isn’t as Foster’s text keeps Vivien right at the precipice and Chapman exploits this teetering with a savage deprecation generously mined from the subtext.
Director Elina de Santos makes an exquisite, broad sweeping use of the wide open spaces. One imagines her as a master conductor before Chapman’s symphonic orchestrations, bringing every high and low note to bear in this emotional juggernaut. Elina de Santos never allows for a lagging moment, even when there isn’t much action, she skillfully employs her actors to be constantly doing something that keeps the audience engaged and this is a trademark of her style. In less capable hands, “Vivien” could easily devolve into high-tedium but Chapman and de Santos are perfectly matched, smoothing over most of Foster’s occasional rough patches.
With a minimal set, lighting design by Leigh Allen provides all the fullness and luminosity required for the subtle scene transitions. Although there are few costume changes, the vintage chic wardrobe is simply fabulous and further enhanced by Kelcey Fry’s smoky makeup and Toni Walker’s lovely, but easily undone coifed hair.
Watching Chapman as Vivien is akin to watching an exotic bird beating its wings against a gilded cage. Vivien Leigh resented her beauty, treating it as a handicap, and Rick Foster’s play leaves us wondering, what might have become of Vivien Leigh had she been set free?
“Vivien”
Runs through Sept 4
Rogue Machine Theater
5041 W. Pico Blvd.
Los Angeles, CA 90019
Fri & Sat at 8pm
Sundays at 2pm
Please note: Sat, August 27 at 5pm
Sun, August 28 at 3pm
One Monday performance on August 29 at 8pm
No performance on Friday, August 26, 2011
PH: 855-585-5185
www.roguemachinetheatre.com
Tickets start at $40
Photo credit by John Perrin Flynn