Review: Maar, Dora- The Old Red Lion, London

Few things bring this reviewer as much joy as hearing the uncovered stories of historically erased women, especially women artists, does. The promises made by the second run of Nadia Jackson’s first stage creation, Maar, Dora are fulfilled for the most part and invite art lovers and the uninitiated alike on a tense, exhilarating and instructive journey. The intimate space at the Old Red Lion lends itself beautifully to the show’s atmospheric L-shaped set, welcoming us into an artist’s studio.

The play is the story of one of Surrealist painter Pablo Picasso’s lovers and a woman who is still presented in canonic art history only as one of his principal muses. Dora Maar was in fact, and long before crossing paths with the man who would end up wrecking her life, a Surrealist photographer, poet, painter and collage maker. Their tumultuous 9 year-long relationship, and specifically how it articulated itself around their respective creation, unfolds before us as Faye Ziegler’s personable and mischievous breaking of the fourth wall calls upon us as witnesses to Picasso’s erasure of Maar’s individuality.

The play starts on a high as Ziegler compares herself to the contemporary women in the audience and gives us an overview of Maar’s life and artistic activity before meeting Picasso. Although we lose some elements of it due to varying clarity in Ziegler’s delivery, her ease and poise in Maar’s persona leave a lasting impression. 

There is a lag however when Dom Thompson appears as Picasso, not by virtue of what is an overall solid performance but perhaps because of what appears to be limited chemistry between the two actors.

They do both however occupy the artist’s studio in a powerful manner which gives even more tension to the story of power play, manipulation and domination. The most organic moment perhaps of their collaboration is a powerful takeover from Thompson where stagecraft is used as a weapon to consume and erase Ziegler’s presence and let Picasso once again try and keep the show solely his own. Spiky Saul’s direction can be commanded in this moment, much like in other creatively focused instances where Maar and Picasso are seen, painting, drawing, photographing and discussing their art in what often turns into a violent confrontation leaving little space for Maar’s expression.

As beautifully written as the play is, especially in Maar’s monologues, the middle part takes a slow turn that insists so much on Picasso’s perversity and Maar’s struggle that it leaves us feeling like we know less than we wish we did about Maar’s work. Perhaps the tension of their relationship, its abuse and sometimes terror could benefit from being presented with more intensity and less volume, especially when it permeates the entire story and is set in a small space.

There is a definite sense of the battle for existence and the play is cleverly constructed in a way that honours the story’s escalation towards the big reveal of Picasso’s portrait of Dora, The Weeping Woman. We wish, however, that more development, time and perhaps dialogue could be given to the presentation of what truly was revolutionary work in Maar’s early career, and which left a technically and thematically changed photography and montage world. If development was to be brought to what is a short and very promising show, it could benefit the sense that Dora Maar was not just an artist with potential and wasted years, but an artist whose potential was greatly explored and developed before she was emotionally abused for several years.

Maar, Dora has the makings of a beautiful play that could develop into a very strong biographical show. Nadia Jackson has set out to make it a script amongst a few which would tell the individual stories of other of Picasso’s lovers, muses and artists. We will be happy to discover these new creations once they are ready to take on the stage.

Featured Image: Supplied by Nadia Jackson

Maar, Dora will play The Old Red Lion Theatre, London until the 27th of April 2024. For tickets, and more information, click here.