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Historical geniuses are tricky beasts to dramatize.
Sergei Diaghilev changed the face of art with his creation of the Ballets Russes in Paris in 1909.
In McNallys words, his artists were his talent.
Diaghilev was an unparalleled impresario, a producer who brought together geniuses like moths to a halogen lamp.
The company rocketed the young dancer and Diaghilevs lover Vaslav Nijinsky to superstardom.
So why is McNallysFire and Airsuch leaden drama?
How can a writer humanize someone like Diaghilev or Nijinsky, for that matter while simultaneously conveying the myth?
Second, Shaffer let ushearMozarts music.
Thats whereFire and Airfirst starts to stumble.
Unlike the music of Mozart, the live performances of the Ballets Russes are lost to time.
But Doyle doesnt astonishus.
Were constantly catching up with the characters (Oh, I guess were in Monte Carlo now?
), rather than leaping alongside them, which creates a sense of heaviness where there should be dexterity.
The spareness isnt a fault Shakespeares stages were empty but the failure to make it fully evocative is.
Theres no muse of fire at work on our imaginations here.
But Hodge is often pushing here.
Do I exhaust you with my enthusiasm?
Dimas answer is yes and unfortunately, so is ours.
Fire and Airis at Classic Stage Company through February 25.
