Clearly, the show starring Eden Espinosa feels like its subject has not enjoyed her due recognition.
Eden Espinosa and cast in “Lempicka” on Broadway at the Longacre Theatre in New York. NEW YORK — Say the words “Art Deco” and most people think of buildings and Miami Beach hotels.
Indeed, a perceived need to glob on enough sexy-modern Broadway pizzazz to appeal to a broader public might well be what torpedoed “Lempicka,” now at the Longacre Theatre. This potentially appealing show would have sat more easily as a feminist, non-musical drama in a less pressured space, where the director,, and the performers, all too aware of their need to liven up this clunky bio-musical, did not have to push so darn hard.
No doubt Kreitzer was attracted to the potentially transgressive elements of de Lempicka’s biography, given that the painter was both half-Jewish and sexually adventurous. De Lempicka was living in Warsaw during the Russian Revolution of 1917, meaning she and her husband Tadeusz Lempicki had to flee the Bolsheviks, eventually landing with a daughter Kizette in the fervent but male-dominated Parisian art scene of the 1920s and ’30s, before finally having to flee that, too.
“Lempicka” is not quite a hagiography but, clearly, the show feels like its subject has not enjoyed her due recognition and sets about making the revisionist case and turning its subject into a progressive heroine.
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