Wendy Gough brings to life famous actress Isabella Andreini, and a host of colorful characters against the backdrop of the rarely seen 16th Century commedia dell’Arte, in the World Premiere of her solo play, The Divine Madness of Isabella, directed by John Achorn at the Write Act Theatre in Hollywood.

Isabella Andreini, prima donna of prima donnas, and greatest actress of her time, finds herself performing alone on a stage surrounded by her beloved Commedia masks. Frightened and confused as to her whereabouts, Isabella is driven by a mystical, unseen force to improvise a scenario; but this scenario is not a simple play - - it is Isabella’s life. In hopes of returning to her family and to her troupe, Isabella reluctantly complies, using her unparalleled craft to tell the story of her own life forcing herself closer and closer to the madness that fuels her art.

THE BUZZ…

NoHoLA  March 15-28 2005

The Divine Madness of Isabella

by Jacob Clark

Wendy Gough is a consummate theatre artist. This season alone at Write Act Repertory, she has shown her remarkable range, turning in superb performances in several productions, directing a wonderful World Premiere play, and now researching, writing and performing a solo piece, The Divine Madness of Isabella, about the life of Italian actress-poet Isabella Andreini.
Isabella was a huge star of the Commedia dell’ Arte, a form of theatre that bridged the gap between the traveling minstrels of the Middle Ages and the high comedy and tragedy of the Renaissance. She elevated the form by playing a prima donna character who had the license and ability to improvise poetry, bringing a new refinement to the stage showing Europe the effectiveness of poetic drama and comedy, paving the way for Shakespeare, Moliere and other poet-playwrights to emerge.
Although Gough’s play brings a historical figure to life, it is hardly a mere academic exercise, as the revelation of the life is by turns, hysterical, heartrending and surreal. Gough plays 20+ characters using commedia styled masks, puppets and sheer talent. Gough is just as adept at inhabiting male psyches as female ones, just as committed to little puppet voices as to big theatrical ones, and the resultant play, an hour and twenty minutes in length, flies by at a breakneck pace.
Director John Achorn moves Gough through the paces of a life flashing before ones eyes with a focus on playing the commedia of the piece while preserving the fresh reality and determination of the truth, arriving finally at a surreal synthesis of vaudeville and Stanislavsky. John Lant’s wonderful set is filled with surprises and his lighting supports the magic of the play.
Once again, Write Act shows Los Angeles that risk-taking, entertaining and intelligent theatre is available for the adventurous audience.

****

THE DIVINE MADNESS OF ISABELLA
the Write Act Theatre
March 10 2005
Reviewed By Wenzel Jones – Backstage West

Wendy Gough is an actor of no small measure, who has crafted for herself a one-actor showcase that plays to her strengths. In choosing the historical character of poet and commedia actor Isabella Andreini, of whom it is frequently noted that she "wants more than God allows women," Gough gets to run the gamut of acting opportunities as she portrays multiple characters comporting themselves in a variety of styles. It's in her capacity as mask-maker, though, that she is able to put a special polish on the piece. Some characters are denoted by nothing more than a hat on a pole, while the men to whom Isabella is related, whether by blood or marriage, are full-face masks, some with hinged and bearded jaws, allowing Gough to portray this handful of males quite effectively. At times the masks are expected to work alone, Gough standing by as an interested observer who just happens to be lending her voice to the proceedings, a device best employed in a scene in which two of the troupe's lead performers clash, leading to a great deal of comic upstaging. Puppets come into play, too, and, although they are lovely, their contributions are somewhat limited, particularly those that are attached by their backs to the lid of a trunk. The two that enact the courtships of Isabella and her husband-to-be are quite sweet in their brief scene, however.

Jeff Soroka's set, which consists largely of primitively painted backdrops that are awkwardly winched away when their moments have passed, has a rusticated charm in keeping with the whole commedia milieu. Gough's costume (Ashley Trevathan), which consists of a few layers of white clothing topped off with a handsome red robe, can be tucked or flounced to achieve a fair range of looks. Although the script isn't nearly as singular as its subject is supposed to have been, the production of it is impeccable, perhaps best exemplified in the moment at which a small roll of material is hurled from backstage and Gough, without even turning to look, reaches up and with complete assurance snatches it out of the air.
*****

Wendy Gough grew up in Berkeley, California, earned her BFA at the University of California at Santa Barbara, then attended the Dell'Arte School of Physical Theatre in Blue Lake, California, where she learned the art of mask making and developed a passion for the Commedia Dell'Arte.  She went on to earn her MFA from the Hilberry Repertory at Wayne State University in Detroit, specializing in classical theatre.  After arriving in Los Angeles she took up Martial Arts and now teaches Shotokan Karate to children. 

Wendy began working with Write Act while playing the role of Esther Summerson in the critically acclaimed Charles Dickens' Bleak House. She went on to perform in Transports of the Heart,  playing multiple roles, including Calamity Jane and Groucho Marx. She made her directorial debut at Write Act with Diane Grant's One-Act  Sex and Violence, then continued her directing career with The Masque of the Red Death, performed at Write Act's Halloween Masquerade, and Driving Rain, part of Write Act's  Murder, Mayhem and the Macabre.  She was seen in The Trial, for which she was Assistant Director and Maskmaker, creating over 60 masks for the production.  Most recently she directed the World Premiere of Clyde Derrick's Teshuvah.  Wendy's masks have appeared in numerous productions in Los Angeles. Many of her creations can be viewed online at   www.arlymasks.com. More information about Wendy's current theatre projects can be found at www.wendygough.com.

LA Premiere of Write Act Repertory’s Spotlight Series in Hollywood

This one-two punch combination constitutes the opening of the Write Act Repertory’s new Spotlight Series, featuring top Write Act Rep artists performing their original one-person shows. Developed by Ben Livingston and Wendy Gough, respectively, each show offers a variety of rich characters and diverse topics.

Write Act Rep’s Producing Artistic Director, John Lant, points out “ Any artist who produces pertinent material and script strength to produce a one-person show is to be applauded. To find a true calling of a singular performance message is an intimate experience for both the audience and the performer. I am proud that Write Act Rep can produce a series such as this, with the added bonus of two of Los Angeles’ most gifted artists being in the Write Act company.”

Photos: Lou Briggs