Review: At the Goodman, Mary Zimmerman’s ‘Notebooks of Leonardo da Vinci’ remains a true revelation.
Not only was Zimmerman’s quixotic work not the staging of a play, it also wasn’t an adaptation of a novel or a poem or even some piece of nonfiction prose. Instead, Zimmerman had somehow found a way to theatricalize the elliptical jottings of a famed Renaissance artist: a series of eccentric, first-draft musings that even the author claimed had no innate cohesion.Inevitably, this reprise at the Goodman Theatre does not pack the same kind of punch.
Among others. As da Vinci himself noted, the subjects of the world are many. What a mistake we now make by insisting so often and so early on specialization of our young! What connections we miss.
One of the thing I’ve found when shows return after long gaps is that older creators often are wiser and their work yet more resonant. That was true with, say, Ruben Santiago-Hudson in “Lackawanna Blues” on Broadway and it’s the case here with the emotionally rich actor Christopher Donahue, who most notably plays the Leonardo authorial voice and who is a veteran Zimmerman collaborator, now across decades.
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