Maar, Dora - Theatre Review

The Cockpit Theatre, London

                                Photo: Nadia Jackson

I have to admit that before watching Nadia Jackson’s play, currently part of the Camden Fringe, I wasn’t familiar with Dora Maar’s life, except for her association with Pablo Picasso. A French photographer, a pioneer in surrealism, yet mainly known for her tumultuous involvement with the Spanish painter. And that’s what Maar, Dora aims to change: our perception (or lack thereof) of a woman who’s been under Picasso’s shadow for too long.

It’s a feminist play to its core, but it’s a lot more than that. We hear press releases and other sources’ interpretations of Dora’s character and her relationship with Picasso, while she rolls her eyes and urges the audience to see beyond that. We’re in her studio, her domain, where she is in charge, till an unexpected guest comes and disturbs the narrative she is so desperate to share with us. Picasso himself struts onstage and dominates effortlessly, demonstrating in a few scenes the grasp he has over history and Dora herself. In his opinion, there are two types of women: goddesses and doormats (beautifully alliterated with our protagonist’s name) and it’s pretty clear how he views Dora. She plays along, but then, Picasso crosses the line by talking directly to the audience, a dramatic device that belongs solely to Dora. The rapport with her listeners, the chance to talk to us without anyone else interfering, is the most precious thing she has. It’s only a matter of time till the tension builds and erupts, leaving Dora fighting for her life and freedom, even after her death.

Both actors inhabit their characters in a grounded, yet spirited way. Their chemistry is undeniable and they don’t shy away from the passion and abuse that defined Dora and Picasso’s relationship. Faye Ziegler is playful, with a touch of bitterness and melancholy, and manages to show all aspects of Dora’s nature: her sensitivity, anger, sorrow, backbone. And Jeremiah O’Connor knows exactly how to carry himself and use the space to emanate the air of a self-centred man, who is able to charm almost as successfully as to manipulate.

The set is a beautiful creative chaos, a studio full of photographs, canvases and paintings, which assist in the unfolding of the story every step of the way. The best is saved for last. Dora presents the painting of the Weeping Woman, depicting Maar herself, establishing once and for all the gap between how everyone views her and who she really is. 

Sound is also essential, as we have music that is minimal but perfectly timed to complete the atmosphere and the voice of another of Picasso’s lovers, Marie-Thérèse Walter, in an intriguing interaction with Dora.

Jackson’s well written text, under Spiky Saul’s direction, fleshes out a woman who’s more than what others have made of her, with a balanced mix of action and narration. With a running time of almost an hour, there’s potential for more exploration of Dora’s character by herself or with other characters (apart from Picasso). It’s an inspiring and touching play that will leave you wanting for more.