Artists, Then (as in the 17th Century) and Now
“The Light and the Dark” dramatizes the life of Artemisia Gentileschi, while “300 Paintings” was born during the fever dreams of Covid.Quick! Which 17th-century female artist fought her way into the male-dominated art world, prevailed in a rape trial and alchemized her struggles into revolutionary art? If the name Artemisia Gentileschi doesn’t leap to one’s lips, Kate Hamill’s play “The Light and the Dark” at 59E59 Theaters offers a generous introduction.Heavy emphasis on “introduction.” Much of the information in the play’s 145 minutes will be familiar to anyone who has spent time reading Gentileschi’s Wikipedia page or has seen other recent plays inspired by her life.There are two Artemisias in the show: the historical Baroque painter and a docent-like narrator. Both are played by Hamill, who has unwisely asked the narrator to ride shotgun to the artist. Under the slack direction of Jade King Carroll, “The Light and the Dark” often feels more like an art history lecture than a play. The first act, especially, hews much too closely to biographical exposition. Standing next to a blank canvas on a set that evokes of an artist’s studio, Artemisia talks to us about the art of composition before taking us back in time to her youth.As a child, she idolizes first the work of her father, Orazio (Wynn Harmon, posed like an off-duty Greek statue), then Caravaggio, whose works of fleshy realism crack the world open for her. The entrance of Agostino Tassi (Matthew Saldivar), a papal painter who frequents Orazio’s studio, spells trouble. He contrives to spend more time alone with Artemisia; during one of his visits, after he has bribed the Gentileschi’s serving woman (a versatile Joey Parsons) to vacate the room, he rapes Artemisia.Strangely, no mention is made of her three younger brothers, who also trained as apprentices to Orazio and who might have served as dramatic counterpoints for the young female artist.More consequentially, Hamill, who is one of the most produced playwrights in the country, departs from the historical record in a trial scene. Court records of the rape trial preserved at the Archivio di Stato in Rome show that Artemisia averred that she threw a knife at Tassi after he raped her the first time; in the play, she simply lets it drop by her side. “I am not a heroine of some old story. I cannot hold the knife,” she says meekly.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
