Share This Post

In Performance

In Performance: Matt Marks and Paul Peers, Mata Hari (PROTOTYPE)

In Performance: Matt Marks and Paul Peers, Mata Hari (PROTOTYPE)

Matt Marks and Paul Peers
Mata Hari

January 5-7 and 11-14 at 7pm
January 8 at 2pm

HERE Arts Center
145 6th Ave

Mata Hari tells the story of historical figure Mata Hari, a dancer/courtesan who was executed by the French during WWI for being a German spy. When we first see Mata Hari, she is decked in jewels and a beautiful gown—a dancer in full glory. But the glory lasts only a moment, as she is soon surrounded by five male soldiers who take everything away from her save a slip. She spends the rest of the opera exposed, in this slip, in a prison cell, talking to the nun who is her keeper and the captain who is set on sending her to her death. Through these exchanges and the recreations of episodes in her life that bloom from them, we learn about all of her exploits, from being abused as a young wife, to having a bevy of important people as lovers, to struggling with money, to losing her young children because of complications from syphilis.

Mata Hari, a speaking role played by a commanding Tina Mitchell, gains our sympathy with ease. It’s not clear from the opera if she is or is not the spy she’s accused of being, but that potential wrong feels minor compared to the clear injustices perpetrated against her by the male soldiers who should be on her side. Mary Mackenzie as the crass nun, and the only other female performer and only female singing voice, wins our support, too, by being the sole supporter of our persecuted hero. Every performer has moments to shine, and the stylistically mixed music by Matt Marks provides a welcome variety to the score. It lives by its own rules, just as Mata Hari did.

photo by Benjamin Heller

Share This Post

Rachel Karp has developed and directed new work at Ars Nova, Incubator Arts Project, Actors Theatre of Louisville, Mabou Mines, The Flea, IRT, Dixon Place, Women Center Stage, SPACE on Ryder Farm, Columbia University, and the Powerhouse and Samuel French Festivals. Associate and assistant directing credits include productions through Signature Theatre, Young Jean Lee's Theater Company, 13P, PearlDamour, Woodshed Collective, The Mad Ones, and the Humana Festival. Rachel has worked as a script reader for the Bushwick Starr, the Lark, and the Jewish Plays Project and in the literary offices at Second Stage and Soho Rep. She has been a Resident Artist at Mabou Mines, a Resident Director at The Flea, a Directing Intern at Actors Theatre of Louisville, and she is a member of the Lincoln Center Theater Directors Lab. Currently, Rachel is a John Wells Directing Fellow at Carnegie Mellon University, MFA expected 2019.

Leave a Reply

Lost Password