Embers

It would seem an incomparably difficult task to portray a monolithic character of our time, someone we’ve all seen, gawked at or admired. Comedians have the best shot because they are not literal.

Catherine Gropper’s biographical play EMBERS, on the other hand, rehashes the life of the celebrated artist Louise Nevelson with such a heavy hand, one wishes she had not sculpted her subject this way. Not a single hook into this character appears that isn’t obvious from her fiery temperament, her dramatic persona, and her narcissism to her enormous gift.

As portrayed by Nada Rowand, the turbaned and cloaked Nevelson, revels in the role, despairing of her fate, disappointed by the art world, and sadly informed of her own ability to love. She looks and acts more Norma Desmond than anyone else. But what is Ms. Rowand to do with such haunting lines as "I am all the female artists before and after" or "talent chooses us, I’m afraid". As portrayed, the grande dame of the art world was a lousy conversationalist.

On the lighter side, Kenneth Wilson-Harrington as her son Nick, who she discarded for fame, takes on a genuine character, realistic but sardonic, truthful but perverse. With his coyness and mischief, he illuminates the dichotomy between his mother’s need for validation and her concomitant talent to reject.

Still, the overall production is annoying, and grating, certainly when it comes to greatness.

That’s This Week Off-Broadway. I’m Isa Goldberg.