Lynda Clark Takes a Stunning Solo Turn as Fashion Icon Diana Vreeland in Full Gallop | Theater | Indy Week
Pin It

Lynda Clark Takes a Stunning Solo Turn as Fashion Icon Diana Vreeland in Full Gallop 

click to enlarge Lynda Clark in Full Gallop

Photo courtesy of TheatreFEST

Lynda Clark in Full Gallop

As Lynda Clark stalked across the stage in a slinky black top and trousers made by director and costume designer John McIlwee, her stunning solo performance as controversial fashion editor Diana Vreeland seemed half concert, half acting master class. There was more than a note of Judy Garland's brassy confidence in the animated musicality of Clark's voice, especially in her delighted octave jumps when she greeted an old friend on the phone or praised one of her many passions.

Full Gallop, running in N.C. State's TheatreFEST 2017, is the right title for both this production and the vivid life of its subject. Vreeland imperiously holds court in her Park Avenue apartment in 1971 after a four-month European tour. ("The usual," she tells a friend. "London, Milano, Madrid, Paris.") But as "the Oscar Wilde of fashion" namedrops European designers and artists, details of a devastating career reversal unfold. Vreeland embarked on that tour after Vogue, where she was editor-in-chief in the tumultuous sixties, fired her, sending shockwaves through the fashion industry. Back in New York, her future is anything but clear.

Clark conveys the jackknife turns of a quicksilver mind with precision and panache. In one moment, her self-made tastemaker unshakably asserts, "Give 'em what they never knew they wanted!" In the next, when Vreeland's trademark near-kabuki facial makeup slips, we glimpse a deeper vulnerability. Clark knows a one-person show is a conversation with the audience; she quizzes and confides in us as a lexicon of facial expressions immediately communicate exasperating news received remotely from a comically long-suffering French assistant (JoAnne Dickinson, in an offstage role). When an actor handles a character with this much style, her subject would have to approve. —Byron Woods

Comments

Subscribe to this thread:

Add a comment

INDY Week publishes all kinds of comments, but we don't publish everything.

  • Comments that are not contributing to the conversation will be removed.
  • Comments that include ad hominem attacks will also be removed.
  • Please do not copy and paste the full text of a press release.

Permitted HTML:
  • To create paragraphs in your comment, type <p> at the start of a paragraph and </p> at the end of each paragraph.
  • To create bold text, type <b>bolded text</b> (please note the closing tag, </b>).
  • To create italicized text, type <i>italicized text</i> (please note the closing tag, </i>).
  • Proper web addresses will automatically become links.

Latest in Theater



Twitter Activity

Comments

Spelling error for one of the owners of RRE: it's Rebekah Carmichael, not Rachel Carmichael. Also, the shows run between …

by J Robert Raines on Raleigh Room Escapes Slips Through the Keyhole Between Room-Escape Games and Immersive Theater (Theater)

your 20 sept review of playmakers current offering missed the boat, big time. the play portrayed all the characters as …

by Pointyhead on The Cake Edits Reality to Ignore the Everyday Consequences of Bible Belt Homophobia (Theater)

Most Read

Most Recent Comments

Spelling error for one of the owners of RRE: it's Rebekah Carmichael, not Rachel Carmichael. Also, the shows run between …

by J Robert Raines on Raleigh Room Escapes Slips Through the Keyhole Between Room-Escape Games and Immersive Theater (Theater)

your 20 sept review of playmakers current offering missed the boat, big time. the play portrayed all the characters as …

by Pointyhead on The Cake Edits Reality to Ignore the Everyday Consequences of Bible Belt Homophobia (Theater)

Oh, I'd be amused even without the in-jokes. These folks are having a great time, and the setting is transportive. …

by needsomeokra on Wants Upon a Time Is a Commedia Dell'arte Interrogation of What Happily Ever After Really Means (Theater)

The photo credit is incorrect. The photo was taken and edited by Areon Mobasher for Burning Coal Theatre Company. Please …

by Areon Mobasher on The Greeks Streamlines Sophocles’s Theban Trilogy Into Three Nimble, Strikingly Modern One-Acts (Theater)

I'm wondering why Dorfman specifically chose the Death and the Maiden quartet - deriving from the song Der Tod und …

by trishmapow on Forgiving is not forgetting in Ariel Dorfman's Death and the Maiden (Theater)

© 2017 Indy Week • 320 E. Chapel Hill St., Suite 200, Durham, NC 27701 • phone 919-286-1972 • fax 919-286-4274
RSS Feeds | Powered by Foundation