Photo Credit: Troy Freund Photography
Near the midpoint of Bakersfield Mist, the art expert Lionel Percy delivers a fevered, impassioned description of how Jackson Pollock transformed the art world. David Flores as Percy changes from a humorless, studious appraiser into a frenzied zealot in a few moments. It is an amazing metamorphosis.
Staged as a concert reading with Carole Herbstreit-Kalinyen as Maude Gutman and David Ferrie handling the narration, Mark Bucher’s direction of Stephen Sachs’ stark story comes alive with no physical set. Inspired by a true story, Maude’s existence in the California trailer park consists of combing thrift stores and rummage sales. Her previous occupation as bartender ended when she quit. Or was fired.
“Maude the Broad,” as her ex called her, is a shot and a beer kinda gal. One who asks for nothing more than “Dancing with the Stars” on television. Her home is decorated with detritus and other folks’ castoffs. Hers, you get the impression, has not been a smooth life. When she buys an ugly painting for a friend’s birthday present, they get drunk and want to shoot it full of holes. Luckily, they can’t find the bullets. When a local Art teacher suggests it may be a Pollock, she tracks down a New York art expert.
Overeducated and regal, Lionel flew in on the foundation’s private jet. At a field trip as a youngster, Lionel saw a Picasso and “God spoke to him.” His, we get the idea, has primarily been a life of the mind. Maude’s greeting is peppered with F-bombs and she immediately offers him a drink. They don’t pretend to get along, but she would like nothing more than to prove the painting is an undiscovered original. He relies upon his education and intuition to make the call, utilizing his “blink test,” which in the first two seconds gives him the tingle of authenticity if a work is the real thing.
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As we learn more about the characters, Maude’s street smarts match Lionel’s book smarts—she has also done forensics on the painting. She also has learned of a fissure in Lionel’s professional past.
We also learn of Lionel’s failed marriage, perhaps measured against the unattainable perfection of the masterpieces he lives for. And we learn of Maude’s rough husband and his impact on her deceased, sensitive son—whom she sees in the painting.
Running less than 90 minutes, Ferrie’s narration allows the only room for pause. Barely. The actors’ intensity places the audience inside the trailer home. Herbstreit-Kalinyen and Flores’ characters are flawed yet driven. Both for what they believe to be true, yet for very different reasons.
Through Nov. 30 at Plymouth Church, 2717 E. Hampshire St.
