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Review: 'Nureyev's Eyes' illuminates the artist life

 
Jed Peterson, left, plays dancer Rudolf Nureyev and Hughston Walkinshaw plays painter Jamie Wyeth in a compelling friendship.
Jed Peterson, left, plays dancer Rudolf Nureyev and Hughston Walkinshaw plays painter Jamie Wyeth in a compelling friendship.
Published Oct. 18, 2014

If the eyes are the hardest thing for an artist to capture, breaking through the surface and into the soul is the challenge for Nureyev's Eyes.

The play premiering at American Stage in St. Petersburg is based on a true story. It ventures inside the unlikely and at times contentious friendship between Russian ballet dancer Rudolf Nureyev and American artist Jamie Wyeth.

Wyeth did a series of studies of Nureyev in the 1970s, and playwright David Rush was inspired to imagine their relationship after seeing a museum exhibit of Wyeth's work. Rush's play has been performed in staged readings, but this is the first full-scale production for Nureyev's Eyes, directed by Darin Anthony.

The premise and script are rich, but the play Thursday night felt flat in places (in fairness, it was a preview, so everyone was still getting kinks out). One early scene set at a party is almost uncomfortably subdued, despite the colorful lighting and sharp, cutting dialogue.

"You are rude, annoying and not interesting," Nureyev tells Wyeth on meeting him (Wyeth seems more curious than rude, though).

Wyeth realizes this obstinate, intriguing specimen has to be the next subject of his work. He sets about convincing him to sit for studies and, more importantly, to open up about his life.

Rush advances the relationship through riddles that become fun to try and solve with the characters. For example: How is Nureyev like a Siberian bear? When he's trapped, he becomes killer.

Perhaps the disconnect is that the characters talk of having the kind of madness only artists have, but neither character seems overly mad. They both feel like fairly sensible men dealing with the challenges of an artist's life. Nureyev is definitely the more eccentric and dynamic character.

Jed Peterson plays Nureyev, a great fit for the role. Peterson looks like the dancer, down to his sinewy, muscular physique. Peterson trained as an actor at the Moscow Art Theatre and handles a Russian accent well. Peterson also trained in ballet, performing in The Nutcracker at the New York City Ballet. He's believable and shows a satisfying range, delivering a joke or exploding his temper in the right places.

Hughston Walkinshaw tackles Wyeth, desperate to move out from the shadow of his famous father and grandfather, Andrew and N.C. Wyeth. He is capable in the role, but not as memorable as Peterson. Walkinshaw plays Wyeth as a pretty straightforward guy, one stressed by artist's block.

The relationship between the two men has rewarding sweetness and humor. The play's chief challenge comes in condensing that long relationship into an hour and a half. Thankfully, there's no intermission to break the momentum.

The plot moves Wyeth and Nureyev from setting to setting as the years roll by, a dressing room, a patio, Wyeth's art studio. It's easy to follow, thanks to a clean, efficient set by Jerid Fox and lighting by Megan Byrne.

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Though the play centers around a dancer, it contains relatively little dance. Because of the sparse smattering of ballet, the most compelling and poignant scenes happen when the dancing happens — and not just from the dancer.

In the play, we are to imagine the art in empty picture frames. But if you're interested in the actual work, Wyeth's Portraits of Rudolf Nureyev are now on display at the Museum of Fine Arts, St. Petersburg through January, so you can see them in the flesh.

Contact Stephanie Hayes at shayes@tampabay.com or (727) 893-8716. Follow @stephhayes.