Review: Lee, Park Theatre

American artist Lee Krasner is given some time in the limelight tonight. Lee, a new play by writer Cian Griffin at the Park Theatre, does a bit for Krasner what Six does for the wives of Henry VIII. At least, that’s what I see as someone who is far from an art aficionado and didn’t know Krasner or her art before tonight: a spotlight on the woman beside the man. I had only heard of her husband, whose shadow she lived in, Jackson Pollock.

Lee is a wonderful story. Griffin creates an intimate feeling, but also a glimpse into the world of art and artists that feels epic. Set some years after her husband’s death, Krasner (played by Helen Goldwyn) is painting in her studio when interrupted by friendly local delivery boy Hank (played by Will Bagnall). He is making his way through art school and wants some advice on his work, but also wants to know the truth about a painting he inherited from his father. With a corner cut off, maybe Krasner can help to verify its identity as a work of Pollock’s? As they talk and think about art, they also examine themselves, who they are, what motivates them – an intricate connection with the meaning and impulse of creativity.

Krasner and Hank are an endearing pair in themselves. They both balance well-meaning and flawed, stubborn and generous, and tip the scales to challenge and support each other. Pollock (Tom Andrews) makes appearances in Krasner’s thoughts and allows more insight into the relationship Krasner is now free of. As she says herself, how could two people who live together not influence each other, and it’s interesting to see this influence play out in Krasner’s mind while also seeing the lasting impact in how she is now, talking to Hank.

The performances are engaging and appealing. Making the most of the intimacy of the 90-seat venue, the three actors make us feel very close to the characters. Maybe it is the skilful dance they perform of pulling up and breaking down defences in their characters, teasing us with their vulnerability. Goldwyn holds the evening together, delivering the stubborn Krasner with humour and the right amount of sensitivity for her more difficult moments – often when she is being kind, but also when she shows us the difficulties a female artist faced in the mid-20th Century. Goldwyn gives Krasner the gravitas to shake off the image of being the woman-behind-the-man.

I’m not an art historian, and beyond enjoying time in galleries I can’t claim to put much effort into piecing together the stories that are behind the art I admire. I have been challenged on why I would go to see something like Lee if I don’t know who she is, or don’t know much about art, but I think it’s important that these unseen bits of culture are there to be discovered anew. Tonight feels like it would have had something for both experts and newcomers.

Where Lee really struck me was that it left me inspired to know more, to challenge my perception of what I’m looking at, because it’s so much more than just paint on paper. I can’t be certain on the historical content in tonight’s play, but it seems that Griffin wove in the right amount of fact to give his emotive story a living foundation. I feel like I have learned something, had some creative assumptions challenged, and enjoyed a moving performance.

Written by Cian Griffin
Directed by Jason Moore
Produced by OnBook Theatre in association with Park Theatre
Set and costume by Ian Nicholas

Lee runs at Park Theatre until Saturday 18 October.