To most playwrights the best praise one can receive about their work is that it has great commercial potential.This can certainly be said of Jessica Provenz’s new play “True Art.”
The work being given its world-premiere at Dorset Theatre Festival in Dorset, VT is one of those theater experiences you leave feeling satisfied, but tend to forget by the time you get home.
The plot about whether or not a recently discovered Michelangelo painting is genuine is thoughtful and interesting. But it is not yet compelling.
On the positive side, the plot device offers the audience some fascinating insight on the nature of art and creativity. Indeed, the segments where the characters discuss their love of art are the few moments in the play where the work sparkles with passion.
Indeed, this is telling because the story is told through two romances. One is a youthful relationship between a recent college graduate who is hired by a museum as a temporary worker and the aimless son of the museum’s chairman of the board.
The other is with an art gallery owner who discovered the Michelangelo and the tough head of the department which bought the painting at auction (for $200 million. She helped validate its authenticity.
As the plot suggests, “True Art” is an easily digestible experience. It’s even more pleasing because playwright Provenz knows how to write a funny line and sprinkles the play with laughter.
But, I doubt Provenz’s intent was to write a simple comedy or a work that exists solely as a commercial product.
In the play, which is essentially about the value of authenticity, she includes commentary on many social and moral issues.
The most obvious is the cause for female empowerment. She does this by contrasting the older, no-nonsense curator with her idealistic assistant.
One fought her way to the top, at a time when the highest goal for a female was equal to an entry level position. Because of her gender, she’s been passed over several times to be head of the museum.
The other woman is an equally dedicated individual who is more privileged. The young, woman finds herself as an influential assistant to power, mostly because of her personality and eagerness to please.
Yet, the younger woman, with little worldly or business experience could topple her mentor’s reputation.
It begs the question of what does the successive generation owe to the trailblazers who opened the doors for them?
The same disparity of privilege exists among the men. One is a talented but limited artist who gained reputation and wealth by selling the work of better painters. His success is a reflection of the greatness of others.
The younger man is an adopted son of an extremely wealthy family. He lacks identity and purpose, and craves his father’s respect. Each man’s identity depends on the approval of others.
There are many other provocative threads woven into the piece. Too many, actually. The result is a tapestry filled with distractions. It wants to tell too much and ultimately reveals too little.
Provenz does have a solid base on which to build. The concept is ideal to express her themes of reality versus imagination, fraud versus authenticity and honor over success. All worthy topics of discussion. But, perhaps, not all in one play.
As it exists now, “True Art” is not a bad way to spend two hours in the theater. However, editing can result in increased focus and clarity.
The result is likely to be a commercial work that is also a genuinely thoughtful piece of theater as well.
“True Art” plays at Dorset Theatre Festival through Saturday, September 7. Schedule and ticket information at Dorsettheatrefestival.org
Bob Goepfert is theater reviewer for the Troy Record.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.
