Lee Krasner (1908-1984) was an American Abstract Expressionist painter, part of the celebrated New York School.
Like Dora Maar, another artist who has been given the stage play treatment, Krasner was partially defined by her association with a major male artist, her husband, Jackson Pollock (1912-1956).
Lee, the second play to he written by Cian Griffin and directed by Peter Moore at OnBook Theatre (after Aged In Wood earlier this year) places Ms Krasner to the forefront, in her studio in 1969.
Much of the play is taken up by a conversation between Lee (a steely Helen Goldwyn) and her grocery boy (and budding artist) Hank (a nervous Will Bagnall).
The walls are dotted with her paintings – even behind the audience – and one, titled “Portrait in Green” is a work in progress, added to live on stage.
You may find some similarity here with Red, John Logan’s 2009 play about Mark Rothko and his assistant. Passages about ‘what is art’ and ‘why are you an artist’ are universal but in Lee there is the issue of gender equality.
Hank brings a painting given to his dad by Pollock to pay a debt. This presents both a dilemma and a revelation, as well as the reality of what people sometimes do for those they love.
Pollock (a resolute Tom Andrews) is ever present, sometimes literally as Krasner visualises her late husband’s critiques of her work or replays personal scenes between them.
A scene where she reels off a list of female artists, none on the art history syllabus Hank has followed, highlights how few there were, with none household names.
Even now, the wider public would be hard-pressed to offer a woman who was the equivalent of Rembrandt, Van Gogh, or Klee. There are exhibitions – Krasner was given her full showcase at MoMA after her death – but there is a lot of work to do to undo years of invisibility.
Lee Krasner, who signed her work LK instead of the name she went by, Lenore, before assuming a name that suggested masculinity, was as much a part of the modern art movement as her husband.
Taught by Hans Hofmann, influenced by Picasso, but following her own path, Krasner left 599 known pieces in her catalogue raisonné, having destroyed many others.
Griffin’s play captures Krasner’s skill, drive, and the mix of love and resentment she felt for Pollock, personally and professionally. The scenes between them are shorthand for a difficult and dependent relationship.
Ian Nicholas’s set and costumes capture the working space of an artist, dominated by a selection of works showing Krasner’s changing style.
The lights are up throughout this production, allowing us to fully engage in a moment of creation and retrospection. Young Hank is our surrogate as we pull back the layers Lee Krasner has wrapped around her.
An enjoyable play that spotlights an artist of significance, style, and substance.
4 stars.
Lee continues at the Park Theatre 90 until 18 Oct – tickets here.
Image credit: Giacomo Giannelli