Writer/producer Nadia Jackson brings her show Maar, Dora about the artist who acted as muse for Picasso, to FreshFest on 6-7 Feb at 7pm.
Dora Maar was one of the first women in the surrealist movement, but in today’s conversations, her name only appears after a man’s. Dora is now here to tell you the honest truth about this “love story.”
Where: Old Red Lion, Islington
Ticket link: https://www.oldredliontheatre.co.uk/maar-dora.html (both shows sold out but check for returns)
Nadia tells us more about the show.
Your show takes as its source and inspiration, the artist Dora Maar. She’s been depicted in plays before see Dora vs Picasso) but often with Picasso or defined by him. What’s different about Maar,Dora?
I wanted, as much as possible, for this play to feel like it comes directly from her, as if she has written it herself.
She is someone who perhaps people have heard of briefly, but always through the lense of the men in her life. Never her own opinions or experiences.
I’ve used verbatim speech as much as I can to give a voice to a voiceless woman.
Maar,Dora is part of FreshFest this year. What’s the best thing about being part of a fringe festival like this?
This is my first experience of producing, so it’s been lovely to have Medium Rare Productions supporting the process.
Festivals are a great way of making theatre-making accessible at a grassroots level, and it’s been a safe space to try new things.
Why did you decide to write this show? Why do you think Dora needs rediscovering?
I am an artist myself, and have known for a long time that I wanted to create something that combined art and theatre.
I’ve always found true stories to be the most compelling, and feel that before we can find my own voices, we must first listen to those who came before us.
Especially those who have gone under appreciated.
This is a solo show. Do you find any particular advantages or disadvantages in writing for one performer?
Actually, it’s not! Early iterations were written as a solo show, but I actually found that by removing Picasso from Dora’s narrative, perhaps in itself was removing part of her.
I decided if I was to tell her story, I had to tell all of it. So the play is set up as a one-women play, which he inevitably interrupts.
What’s next for the show after this run?
We’re hoping to get some feedback for how to develop it into a longer play, and then get a week’s run in a larger theatre, so we can share Dora’s story with more audiences!