Karin Rosnizeck as “Marlene.” Photo by Teresa Castracane Photography.
Marlene Dietrich is perhaps best known as a symbol of the ever-so distinctive brand of talent and glamour that epitomized the heyday of “Old Hollywood.” German-born, Dietrich came to the US upon being discovered after a starring role in one of the first German talking films, “The Blue Angel.” From there, it was a string of successes that included a coveted Oscar nomination for the movie, “Morocco.” Dietrich was also widely known for her overseas performances during World War II. She did over 500 such performances before thousands of soldiers.
Karin Rosnizeck is the show…create[s] her own completely unique homage to the beauty, fame, talent and grace that was the essence of Marlene…an incredibly tight production and director Vanessa Gilbert hits all the right notes…
It is no wonder that Dietrich’s life provides such rich, dramatic material. In ExPats Theatre’s production of “Marlene,” you get to see precisely what happens when a Hollywood legend’s life is translated onto the stage. As the titular movie star, Karin Rosnizeck is the show, not solely channeling Dietrich, but circumventing the physical realities of the actress to create her own completely unique homage to the beauty, fame, talent and grace that was the essence of Marlene.
What is perhaps most poignant about Pam Gems’ script is that it isn’t focused on the pinnacle of this woman’s whirlwind career, rather, we see Dietrich slowly coming undone as she nears retirement. Post-movie career, Dietrich made her living as a nightclub performer. This is where we find her as “Marlene” picks up, in a Parisian club that does its best to live up to the seemingly unattainable standards of the one-time film star. In fact, a running joke in this play is that Dietrich, beset by a touch of OCD and with vacuum in hand, did much of her own dressing room upkeep. The play gives us bits and pieces of wistful remembrances as Marlene bemoans the gradual passing of a life well-lived and the visible signs that time leaves in its wake.
It takes a truly storied character like Marlene Dietrich combined with the talent of an intuitive actor like Rosnizeck to make this such an engaging play. From dalliances with Hemingway, affairs with women, including a heated, bristling flirtation with her assistant Vivian (a delightfully vivacious Valerie Adams Rigsbee), to a pill addiction, Dietrich’s story is such that we are immediately invested in its outcome. Most trenchantly, Marlene reflects on her homeland through song and speech. Clearly reviling nazism and what the country ultimately came to stand for during that time period, she also displays moments of connection with the past, her family, her love of the country that gave her her start. Ever by her side is her helper, Mutti (a silently captivating Hilary Kacser), a Dachau survivor. For Marlene, Mutti becomes a living personification of the horrors of the past and the realities of aging into obscurity.
ExPats has put together an incredibly tight production and director Vanessa Gilbert hits all the right notes, even when “Marlene’s” voice doesn’t quite land exactly where it should. Dietrich was ultra critical of her singing voice but knew she could pull it off via sheer star power and of course, by looking stunning in a gown. Accompanied by pianist and musical director, Lucia LaNave, Rosnizeck performs Dietrich’s more notable numbers, striking a perfect balance between the star’s self-proclaimed insecurity and the elegance that she so easily carried with her like the sable stole she wears in the play’s final numbers.
Projections make this show come alive in unexpected ways. Set and projection designer Tennessee Dixon fully grasps the ambiance and mood of the moment. We get Old Hollywood glamour looking back on a war and genocide that Dietrich just cannot forget. The lighting plays a central role in this production as well, as the aging star is quite conscious of exactly what type of light is on her at any given moment. Kudos to Ian Claar for some truly masterful work in this capacity. The outfits are also paramount to Dietrich’s oft tenuous self-perception and Donna Breslin’s costumes are pure pageantry.
ExPat’s takes something of a risk with this play and it certainly pays off. In large parts a one-woman show, “Marlene” sees Rosnizeck put herself out there, emotionally, physically, and vocally. Taking the audience by the hand, she leads us on this intriguing journey of one very complicated woman who wants to give everything but who also wants to keep certain parts of herself forever hidden.
Running Time: Ninety minutes with no intermission.
“Marlene” runs through October 20, 2024, presented by ExPats Theatre at Atlas Performing Arts Center, 1333 H St NE, Washington, DC 20002. For more information and to purchase tickets, please go online.
