Lempicka, Longacre Theatre, New York, NY

 


Eden Espinoza in Lempicka. Photo credit: Matthew Murphy and Evan Zimmerman.

It is partly my fault – a lifetime of experience creating theatre or seeing it has left me with an almost-unquenchable thirst for information. Because of this lifelong habit, it is a rare event for me to see a new play or musical about which I know almost nothing. Especially since my dear friend Beth Leavel is in the cast, you could not have kept me from seeing Lempicka, now in previews at Broadway’s Longacre Theatre. Purposely, I kept my pre-show knowledge to a minimum: I had read a synopsis, a Wikipedia article about its subject (a Polish painter named Tamara de Lempicka), and saw a very brief clip that included a snippet of one song. Although you may never have heard of Lempicka, you may well have seen some of her work along with that of other icons of the Art Deco era.

There is a magical sense of discovery when something like Lempicka comes along, bringing to life a significant but little-known person, staged with such stunningly magnificent ingenuity and filled with majestic, moving music that I look forward to hearing again.

As Lempicka tells us at the beginning of the show, she has been fortunate in her life to have two great loves. Unfortunately, she finds herself in both at the same time, as we will see.

Eden Espinoza, Andrew Samonsky, and the cast of Lempicka. Photo credit: Matthew Murphy and Evan Zimmerman.

In the opening number, “Our Time,” we meet Lempicka as a young Polish woman with artistic ambitions that are belittled by her mother. What is important is that she has found a respectable, aristocratic husband (Tadeusz) who can support her. Assigned to St. Petersburg, when her husband is arrested, Lempicka goes to extreme lengths to obtain his release. The couple and their young daughter escape the Russian Revolution by re-settling in Paris (“Starting Over”). There Lempicka gains prominence and embraces the artistic community. She is fascinated by Rafaela, an unashamed sex worker, who models for and becomes an artistic muse for Lempicka. Lempicka approaches every aspect of her life with great passion, and her fascination with Rafaela causes her relationship with Tadeusz to end. Later we see that she has made a match with a Baron with the endorsement of his wife, who sits for a portrait before her impending death.

I am no art historian, but it seems to me that what sets Lempicka’s paintings apart from others is her approach to the human form. She approaches her subjects with an appreciation for the machine-like abilities humans have. Male and female alike, they are not romanticized or “prettied up,” they are muscular, sensual beings.

Above all, Lempicka is a survivor. She has survived the Great War and the subsequent Russian Revolution, and she will escape France when it is overrun by the Nazis. We last glimpse her in southern California in the mid-1970s, still with an easel to her side and a palette close at hand and learn that her paintings now sell in auctions for millions of dollars.

Lempicka’s original concept and lyrics are by Carson Kreitzer, its music is by Matt Gould, and both Kreitzer and Gould are credited with the book. The book tells the story with sincerity and efficiency. As mentioned earlier, the songs are majestic and often haunting; I believe repeated listening will provide even more insight.

Eden Espinoza gives a masterful performance as Lempicka, fiercely committed to the evolution of this unique character. Known for Broadway runs as Elphaba in Wicked and Maureen in Rent, she made a memorable appearance as Trina in the touring production of Falsettos, which I saw when it played at the Kennedy Center in 2019. She richly deserves this opportunity to create a memorable leading role in an important new musical and makes the most of every minute of it.


Amber Iman and the cast of Lempicka. Photo credit: Matthew Murphy and Evan Zimmerman.

Amber Iman approaches the role of Rafaela with a confident and sensual charisma. Her Rafaela is, like Lempicka herself, a survivor. Rafaela has been used and discarded before and she seems somewhat reluctant to accept Lempicka’s devotion to her in the haunting “Stay.” Andrew Samonsky is a handsome, square-jawed leading man who brings a distinctively traditional masculine energy to his role as Tadeusz, somewhat emasculated by Lempicka’s success. While we understand Lempicka’s fascination with Rafaela, we can also understand what drew her to her husband.

Zoe Glick as Lempicka’s daughter Kizette is a wholly-developed, entirely believable “real” child. Natalie Joy Johnson demonstrates an unbridled joy as Suzy Solidor, the out-and-proud proprietor of a Parisian bar where Lempicka and Rafaela meet.

George Abud gives an irrepressible performance as Marinetti, an established artist who influences and encourages Lempicka. Abud is fascinating to watch and brings an energetic physicality to a character who comments on the action, in some ways, as the character of Che in Evita. The character also brings to mind another musical about the artistic process and a distinctive artist, Sunday in the Park with George. Abud earns the ovation he receives after “Perfection,” in which he touts the advent of futurism

George Abud and the cast of Lempicka. Photo credit: Matthew Murphy and Evan Zimmerman. 

Nathaniel Stampley and Beth Leavel as the art-collecting Baron and Baroness, provide an anchor to the real world, which helps us understand the relationship between the artist and society. Stampley is a strong, stabilizing presence. Lempicka is a rare opportunity to see Leavel in a serious role. She brings a wry humor to it, but also an innate dignity and realistic viewpoint as she and Lempicka face mortality and the future.

Visually, the production is striking. The set, designed by Riccardo Hernández, seems to stay in motion, effectively evoking the locations with strong angles, particularly the base of the Eiffel Tower when the characters reach Paris. Paloma Young (costumes) and Bradley King (lighting) contribute to the exciting vitality of the spectacle. Raja Feather Kelly’s choreography reinforces the angularity and machine-like visuals of Lempicka’s paintings, crisply performed by the ensemble. Rachel Chavkin directs with precision, reminding us why she won a Tony for directing the long-running Hadestown.

Lempicka may not be everyone’s cup of tea, but it is an exciting, revolutionary kind of musical about an exciting, revolutionary artist, featuring a versatile and talented cast, well-directed and designed with ingenuity. You will not forget Lempicka the artist or Lempicka the musical.

Beth Leavel in Lempicka. Photo credit: Matthew Murphy and Evan Zimmerman.



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