Elyse Mirto and Odalys Nanin |
Early, in my acting career, an agent called me into her
small office on Sunset Boulevard after witnessing “brilliance” (me in a
showcase). She thought I had
“something”.
She was an elderly chain-smoking woman with a big desk and a young Latino boyfriend, and
or slash husband, who was coming in after a bike ride but not breaking a sweat.
They kissed after she expelled a lengthy
plum of cigarette smoke. He hoisted the bike on his shoulders and walked upstairs. He stuck his left thumb in the back-side of his
biking shorts and started pulling them down before he got to the top of the
stairs. (Multi-tasking I supposed.)
That scene behind her and in between long puffs on her cigarette, she spoke to me with a gravelly voice. “I think I can do something for you, Joe.” And when she said “Joe” it came out as an overly long and raspy “Jooooooooooe.”
Suddenly she pulled out a thick book of clippings of her days as a model slash actress.
“Joe, I was beautiful once.
Look at me, Joe. Look at me!” With cigarette in hand she pointed to her
pictures and was dropping ashes on them.
Taking a deep breath she coughed or blew the ashes off first and then wiped
the remaining bits of ash into the photographs. It was a messy scene and one that had not
escaped my perception for use in later endeavors.
“Yes, these are beautiful pictures.” I said. But in the back of my mind I thought, “I
thought we were here to talk about my career?”
Not quite “old Hollywood stories” but just one that sticks
in my memory about this movie-making town.
The Macha Theatre in West Hollywood used to be The Globe
Theatre. On the outside little has
changed. But the interior is beautiful
and inviting. The lounge and bar are delightful, the patrons come expecting to
have a good time and they do.
Garbo’s Cuban Lover written by Odalys Nanin and directed by
Laura Butler and Odalys Nanin at the Macha Theatre through October 30th,
is a very charming show, wonderful in execution, and a delightful experience.
If one gets excited by the Hollywood of old, this production
will definitely light the fire that will send you running out of the theatre in
flames (in a manner of speaking) and telling everyone you know about this
production. Where else will you find
Isadora Duncan (Erin Holt), Greta Garbo (Lina Hall), Irving Thalberg, (John
Nagle), and Marlene Dietrich (Vera Petrecheuka) all in one fabulous show?
Briefly, as the play begins, Mercedes de Acosta (Odalys
Nanin) lies on a bed in pain, her arm in a sling and her head bandaged. Beside
her is a beautiful young, soft and nubile woman that dances around her as
though she was remembering those glorious images of old Hollywood and the women
who danced out of her life. The Dancer dances with little on that provides
pleasure to a highly active imagination (most of us).
Mercedes de Acosta tells a story to a young Isadora Duncan. But
there is something wrong because Isadora died in 1927. And there is something
in her character makeup that makes one believe she is “not all there”. And you can believe that the images she
congers up is true, or not. Still, Ms. de Acosta takes Isadora back in
time to let her in on the secret of how she managed these affairs with the most
beautiful women of her time.
Salka Viertel (Lisa Merkin) has invited a number of friends for
tea to her home in Santa Monica. Ms.
Mercedes de Acosta’s arrival has cause a bit of a stir. It seems her reputation has preceded her as
the guests (Ginger Pennington and Vera Petrechenka) speak in hushed and
boisterous tones about her sexual proclivities.
Talk does not bother de Acosta as she welcomes the comments about
herself and of her reputation.
It matters little because de Acosta wants to meet Greta
Garbo and visa versa. De Acosta enlists
Viertel to make that happen. Viertel,
the writer of Queen Christina, tells de Acosta that she is very protective of
her good friend, Greta.
And as the moments unfold Greta Garbo (Lina Hall) makes a
grand appearance and is simply uninspired by the people surrounding her
including de Acosta. She stands silently
waiting for those who wish to make her acquaintance come to her and she also
plays hard to get which doesn’t make it easy for the advances of de Acosta who
wants to know all about her work.
No one making films can be happy. – Greta Garbo
Nevertheless, Greta invites de Acosta to her place to talk about the significant things in her life.
This tree is my only joy in Hollywood. – Greta Garbo
So things are not going exactly as planned for de Acosta. In fact Garbo tells her not to come into the house, and to sit silently outside, on a bench, and look at her tree.
De Acosta waits Garbo out and eventually they form a
relationship and go on a vacation together. And as Greta is rowing the boat to a secluded
island in a lake, she hears on owl and immediately turns the boat back to
shore.
This is a bad omen. – Greta
“No, I think it’s an owl.” de Acosta says and implores her
softly, with hands on her shoulders, to turn the boat around toward the island.
Garbo, acquiesce.
With the relationship established, de Acosta is called into
the office of Irving Thalberg to write movies for Garbo. But later things don’t go well for de Acosta when
she writes Dorian Gray as a masculine material for an actress that is
considered a feminine beauty and a bankable star.
Not only that but the papers have reported them walking hand
in hand down Hollywood Streets and Thalberg doesn’t approve. He lectures de Acosta as she is having sex
with Garbo. All the while de Acosta takes
copious mental notes.
Later, there’s more trouble brewing. Salka Viertel enlists Garbo to steal an
important outline de Acosta is writing. Viertel
is holding a secret over Garbo and Garbo complies to keep the secret.
De Acosta finds out, Garbo walks out and the relationship is
irrevocably destroyed.
I’m glad you’re feeling happy today. – Mercedes de Acosta
With Garbo out of the way Marlene Dietrich (Vera
Petrechenka) comes by for a visit and they have a relationship. Still, de Acosta’s heart is with Garbo.
This show is a lot of fun with some very fine performances
by all involved. Still there is one
scene I would like to clean up and I’ll get to that later.
Each actor has a magnificent entrance as each star comes in
wearing the perfect costume for the perfect occasion. A great part of that has to do with the
excellent Costume Designs by Shon LeBlanc whose costumes provide a stunning
recreation of the period. LeBlanc is an
extraordinary craftsman.
Odalys Nanin as
Mercedes de Acosta, is fresh and cagey, and she has an uncanny ability to woo
these women like no other. And the fact
that she’s Cuban gives her emotion leverage on her European counterparts. Still
she fights for what she wants and generally gets it. Even in the end, near her
deathbed, she comes off a winner.
That’s what happens when you tease an old pro. – Mercedes de Acosta
Lina Hall as
Greta Garbo made a stunning entrance.
Cloaked behind the large hat she wore she stood motionless waiting for
the right moment to be approached.
Subtle in her approach to the role, eyes expressing much emotion but not
giving an inch, she stood statuesque waiting for someone to adore her. This is
a wonderful role and a wonderful performance.
Erin Holt as
Isadora Duncan and Isabela makes another grand entrance in a dress that would
be provocative in my Tennessee hometown.
Let’s face it; she could not even wear this on prime time television. Still, she was wonderful in the role, funny
and quirky in a very appreciative way. For the most part as Isadora she dances her
way across the stage and one time, unexpectedly danced right into a flat which put
the audience in stitches. She is
absolutely an actress that will put a smile on your face.
Lisa Merkin as
Salka Viertel is an actress that knows her craft. With this role she pushes all the right
buttons, has the right flavor to the character and in some ways fights to stay
afloat in Hollywood by using a friend to steal.
Despicable in some arenas but in Hollywood, business as usual. Merkin
was enchanting as Viertel.
John Nagle had all the male parts Irving Thalberg, Editor, and the Butler. He was a rather robust Thalberg who you could not characterized as being robust. Thalberg had a number of medical problems and this could have been included in this portrayal. That aside, Nagle did a fine job as the editor and the butler giving those two performances a kind of stepping out of the time capsule thing.
Ginger Pennington
as Poppy did a fine job as de Acosta’s lover.
She fights to have Greta out of their lives and succeeds on many levels.
Ernesto Mijares as Father’s Voice talks
some sense to de Acosta.
Elyse Mirto as Greta
Garbo and Julia Kostenevish as
Marlene Dietrich were not playing these roles on this particular night but will
be seen on other nights.
Odalys Nanin as
the writer delivers a play that works on many levels. It is charming, funny,
hilarious and quirky at times. While
this is a very fine production, there are moments to be tweaked, battles to be
won and lost and characterizations to be slightly elevated and refined. But
these are only small quibbles to a wonderful show. Also de Acosta has a wonderful backstory that
could have included as part of the physical life of the character.
Laura Butler and Odalys Nanin as co-directors did a wonderful job. The introduction of all of the characters was just delightful. It’s hard to tell where Butler left off and Nanin took over. The relationships were excellent.
I wanted to speak about the Garbo “leaving scene”. While it is true de Acosta was heartbroken
when Garbo left, de Acosta did not fight hard enough for Garbo. This is a battle of epic proportions and
needs both actors on stage fighting furiously.
Also, a little more “cat and mouse” play would add to an
already delightful evening, but still there’s so much fun to be had here!
Go!
(Editors note: And for
God’s sake, Skip E. Lowe, turn off your cell phone.)
This comment has been removed by the author.
ReplyDeleteI would like to send you a press release about a production set for November 2nd and would love to have you cover it. The name is La Muer
ReplyDeletete Vive - you can see more at www.lamuertevive.com
It looks absolutely fascinating! I am available November 2nd, 8:00pm if you would reserve two tickets in my name.
ReplyDeleteThank you!
Joe Straw
Actually the show starts at 7pm - doors open at 3pm for Altar viewing. We also have a media rehearsal event on the 1st, which you are also invited to.
ReplyDeleteCould you share this production with your network?
Could I get an email address for you?
Thank you,
Aixa
Hi Thiago (Axia),
ReplyDeleteAt this time I only post events that I have seen.
OK - perfect. I will reserve two for you the night of the show. Keep in mind it starts at 7pm and doors open at 3pm. Would you like to RSVP for the media rehearsal event the day before. I can send you invite. I need your email. Unless its private? My name is Aixa - but the only way to contact you was to comment through my son Thiago's blog :)
ReplyDeleteBest,
Aixa
hello Joe,
ReplyDeleteMy name is Elyse Mirto and I was performing the role of Greta Garbo this past weekend and you said it was Lina Hall. If you could fix that Id appreciate it... and thank you for the good review!
www.elysemirto.com
Thats also me in the picture.
ReplyDeleteThanks
Elyse Mirto
Hi Elyse,
ReplyDeleteI missed your performance as Greta Garbo but I used the photograph as a representation of Garbo. I'm sorry I missed your performance. Knowing Odalys eye for talent I'm sure you were perfect for the role. By the way the costume looks great on you!
Joe Straw
I tried to contact you earlier - will you be attending the media party tomorrow for La Muerte Vive?
ReplyDeleteAixa
Yes, could you give me the address?
ReplyDeleteThe event was last night - will you be attending the show tonight - it starts at 7pm. Will it be you plus 1?
ReplyDelete