Review: The Portrait (Solo Celebration, Greenhouse Theater)

The Portrait

Appealing solo self-portrait world-premiere

Review by Lauren Whalen

An artist's mind is a curious thing, rife with colors, lines and most of all, contradictions. Austrian symbolist painter Gustav Klimt, born in 1862, was best known for his painting and was heavily influenced by Japanese art and design. A leader of the Austrian Secession, a movement spearheaded by artists who desired to break away from conservative styles, Klimt was also a true European at heart. He loved fine wines, multi-layered pastries and most of all, women. Susan Padveen's world premiere solo play, The Portrait , captures a day in the life of Klimt as well as the past love that haunts him. The Portrait doesn't fully delve into Klimt's complexities and emotional depths, but is still a fascinating portrayal of the artist as an older man, thanks in large part to dynamic lead actor Cameron Pfiffner.

Klimt never married, but had several children with as many women. As we see in The Portrait , he is fond of cats and often employs nude models to lounge around his studio, so he can study the human form in its entirety. Or at least that's what he tells a prominent society bride-to-be, who's visiting him for a possible commission, which Klimt relies on to support his family and provide the freedom he needs to create his own art. As Klimt sketches and attempts to charm the unseen young woman, he frequently flashes back to a previous romantic relationship, longing for days gone by while struggling to remain firmly in the present.

Padveen wrote and directed The Portrait , which is part of Greenhouse Theater's series, an eight-month run of one-actor shows with provocative topics. While Klimt certainly led an interesting and provocative life, in and out of the studio, The Portrait doesn't have much of an arc. Klimt's flashbacks and jolts back to the present are awkward more often than not, as are the character's transitions. Padveen's writing could have benefited from an editor or two, as The Portrait is not only slightly flat but also seems to drag.

Fortunately, The Portrait 'ssuccesses greatly outnumber its textual flaws. Padveen has previously worked with actor Pfiffner, and their familiarity pays off: Pfiffner is completely at home in the role of Klimt, using his flowing robe as both costume and prop and exuding equal parts cockiness and insecurity with women. Pfiffner is a visual artist and curator as well as an actor, as evidenced by his expert mannerisms, squinting at his subject and sketching with a sure hand. Scenic designer Jacqueline Penrodconjures Klimt's dusty, cluttered studio, evoking paint splatters, rejected sketches and cat dander with the greatest of ease. Ben Lenz's projection design is well-timed and nicely supplements Penrod's set, and Ben White's lighting eases the more awkward transitions in Padveen's script.

The Portrait isn't a perfect production, and most of its stumbles lie with Padveen's writing. However, lovely production values and Pfiffner's stirring performance make The Portrait a show worth seeing. Greenhouse Theater Center, previously a rental venue for local companies, has recently hired new staff and made a foray into producing. Thus far, its Solo Celebration! series is a terrific first attempt.

The Portrait continues through August 14th at Greenhouse Theater, 2257 N. Lincoln (map), with performances Wednesdays-Saturdays at 8pm, Saturdays & Sundays 2:30pm. Tickets are $34-$48 for single tickets (or $99-$164 for multiple plays in Solo Celebration! series), and are available by phone (773-404-7336) or online through Vendini.com (check for half-price tickets at Goldstar.com ). More information at GreenhouseTheater.org. (Running time: 80 minutes, no intermission)

Cameron Pfiffner (Gustav Klimt), Matt Maxwell (alternate)

behind the scenes

Tags: 16-0732, Alaina Moore, Ben Lenz, Ben White, Cameron Pfiffner, Chicago Theater, Christopher Kriz, Devon Green, Greenhouse Theater, Gustav Klimt, Jacqueline Penrod, Johnny Knight, Lauren Whalen, Matt Maxwell, post, Solo Celebration, Susan Padveen

Category: 2016 Reviews, Greenhouse Theater Center, Lauren Whalen, New Work, One-Man Show, World Premier