Jordan Wright
March 12, 2019
Plunged into anarchy in an apocalyptic scenario in an unnamed Middle Eastern country, Layla struggles to make sense of what appears to be the end of her life. As a world-famous art conservationist, she had been spending her days in an art museum cataloguing the most important things in the world – statues, relics, books, paintings, music, photos and more – in case of just such a catastrophe.
Now rubble and ruin lie all around her and she is trapped in this museum-turned-prison in a city under constant barrage. Layla is despondent over the destruction of the precious and intangible heritage of our humanity by an enemy who seeks to build a new world order.
Crippled with injuries inflicted by her ruthless guard, Mitra, she shares her chamber with a young Muslim woman, Nadia, who silently tends to her wounds. Mitra demands Layla restore a damaged Rembrandt painting. She refuses, pondering what is left of her life without her father and daughter and what in the world is worth saving. Each woman has seen their loved ones slaughtered and each is tethered to one another by the commonality of deep loss. Incongruously, they are united by the brutality of war and its aftermath. Will the women escape the fate imposed on them by the soldiers’ bloodthirsty struggle for power? Will art? And if so, how?
DC playwright Heather McDonald’s world premiere Masterpieces of the Oral and Intangible Heritage of Humanity asks of us where the world would be without beauty, without art or music, and without nations who hold culture and civilization in high esteem. How did we get here, and why, are the questions posed by this dystopian drama.
Set to the haunting strains of opera and against the constant volley of bullets and explosives, Zachary G. Borovay’s projections offer a realistic sense of being front and center on the battlefield. Synched to James Bigbee Garver’s sounds of war, and James Kronzer’s scenic design of broken statues and crumbling buildings, it gives us a bird’s eye view of the confusion and misery experienced by those who suffer the consequences.
Fierce performances by two beloved Helen Hayes Award-winning actors, Holly Twyford as Layla and Felicia Curry as Mitra, and Yesenia Iglesias as Nadia. This is a thinking person’s play – edgy, dark and important – a play I’d expect to see produced by the more politically-minded Mosaic Theater, though I am more than excited to see Artistic Director Eric Schaefer tackle such profound subject matter with the brilliant and internationally-respected director, Nadia Tass.
Costume Design by Kathleen Geldard, Lighting Design by Sherrice Mojgani, Sound Design & Original Music by James Bigbee Garver, and Fight Choreography by Robb Hunter.
Highly recommended.
Through April 7th in the ARK Theatre at Signature Theatre (Shirlington Village), 4200 Campbell Avenue, Arlington, VA 22206. For tickets and information call 703 820-9771 or visit www.signature-theatre.org.