Signature Theatre goes deep with ‘Passion’
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| Claybourne Elder (Giorgio) and Natascia Diaz (Fosca) in “Passion” at Signature Theatre. [Margot Schulman] |
By David Siegel
Leaving Stephen
Sondheim’s “Passion,”
directed by Matthew Gardiner, I found one word to describe my reaction:
Sondheim’s “Passion,”
directed by Matthew Gardiner, I found one word to describe my reaction:
Believable. Yes, believable.
This Signature Theatre production of “Passion” took me inside its
characters in ways previous productions had not. It has honesty and openness and a kind of burning fever to it, rather than mad
outbursts of love-making. The three main characters present unhinged love outside of the
bedroom, as an unstable kinetic condition.
I came to see the three main characters created by composer Stephen
Sondheim and book writer James Lapine as stalking one another – each trying to
gain the dominant position in their own very different ways.
Sondheim and book writer James Lapine as stalking one another – each trying to
gain the dominant position in their own very different ways.
There
is Fosca, portrayed ferociously by Natascia Diaz. Fosca is a woman with
growing, obsessive feelings for a young military officer named Giorgio (played
by Claybourne Elder). Giorgio transforms from a seemingly shallow pretty boy,
though brave in battle, into something much deeper: a man with a soul and a
heart larger than the appendage between his legs. And then there is Clara
(Steffanie Leigh), married with a child, and Giorgio’s beautiful, at first
ascendant, lover.
is Fosca, portrayed ferociously by Natascia Diaz. Fosca is a woman with
growing, obsessive feelings for a young military officer named Giorgio (played
by Claybourne Elder). Giorgio transforms from a seemingly shallow pretty boy,
though brave in battle, into something much deeper: a man with a soul and a
heart larger than the appendage between his legs. And then there is Clara
(Steffanie Leigh), married with a child, and Giorgio’s beautiful, at first
ascendant, lover.
Gardiner’s
approach to “Passion” struck
me as a risk that paid off. After the first few minutes, it became not just
another beautiful theatrical love story about doomed love, nor one of those
coolly cynical pieces dripping with wordplay.
approach to “Passion” struck
me as a risk that paid off. After the first few minutes, it became not just
another beautiful theatrical love story about doomed love, nor one of those
coolly cynical pieces dripping with wordplay.
Accomplished without the orgasmic
cries others might include, Gardiner’s “Passion” is intoxicating; it’s full of
the honest volatility that love can provoke when it strikes deep. Or when
someone finally wakes up to understand that unavailability and long-term
uncertainty (even with a beautiful love object) is not much of a life.
Certainly not a genuine 24/7 love between equals.
cries others might include, Gardiner’s “Passion” is intoxicating; it’s full of
the honest volatility that love can provoke when it strikes deep. Or when
someone finally wakes up to understand that unavailability and long-term
uncertainty (even with a beautiful love object) is not much of a life.
Certainly not a genuine 24/7 love between equals.
What I took away
from this “Passion” was
a sense that for some it just takes time to wake up to the notion that
beautiful eye candy doesn’t do much for one’s own inner worth and self-esteem.
I mean, who among us has not at first been attracted to surface-level beauty or
handsomeness?
from this “Passion” was
a sense that for some it just takes time to wake up to the notion that
beautiful eye candy doesn’t do much for one’s own inner worth and self-esteem.
I mean, who among us has not at first been attracted to surface-level beauty or
handsomeness?
Over the course of the Gardiner production, I became mesmerized by the
predicaments of the three main characters–the scopophilia of one relationship,
the deeper turmoil of another. Which would win out was known, of course. But I
was sitting forward in my seat to see how Gardiner and his cast would keep my
interest beyond the sheer beauty of Sondheim’s lush music.
predicaments of the three main characters–the scopophilia of one relationship,
the deeper turmoil of another. Which would win out was known, of course. But I
was sitting forward in my seat to see how Gardiner and his cast would keep my
interest beyond the sheer beauty of Sondheim’s lush music.
Well, they succeeded by building depth into a quietly operatic tale about
the opening of hearts. By showing that love will lead characters (and real-life
people) to do unexpected things. By building tension that shows where love was
once uncertain, it now sees beyond surface beauty. Then and only then did love
became fierce and enveloping and longed for in its own way – and worthy of
risk, no matter what others might say.
the opening of hearts. By showing that love will lead characters (and real-life
people) to do unexpected things. By building tension that shows where love was
once uncertain, it now sees beyond surface beauty. Then and only then did love
became fierce and enveloping and longed for in its own way – and worthy of
risk, no matter what others might say.
What a thrill to
take in a production of “Passion,” which depicts the unexpected awakening
of love beyond surface beauty, a love that became a ferocious shared obsession.
take in a production of “Passion,” which depicts the unexpected awakening
of love beyond surface beauty, a love that became a ferocious shared obsession.
Where and when: “Passion” plays
through Sept. 23 at Signature Theatre, 4200 Campbell Ave. in Shirlington. Order tickets online or call
703-820-9771.
through Sept. 23 at Signature Theatre, 4200 Campbell Ave. in Shirlington. Order tickets online or call
703-820-9771.
This article is based on a piece by David
Siegel in DC Metro Theater Arts.
Siegel in DC Metro Theater Arts.
