Tony winner Mary Zimmerman's performance collage based on the notebooks of the Italian Renaissance polymath arrives at the Old Globe in San Diego.
, no longer seems as revelatory as it did when it burst into existence at Chicago’s Goodman Theatre in 1994, it’s partly because Zimmerman’s trailblazing work has steadily raised theatrical expectations over the ensuing decades.
Zimmerman pays homage to an artist who exemplifies the high Renaissance ideal of the universal man. Leonardo’s mind, obsessed with the engineering of flying, was always in flight, alighting on higher and higher branches of knowledge and forever challenging the limits of how far he could soar. The feats of strength and flexibility are impressively acrobatic. But Zimmerman doesn’t aim for spectacular effects. A modest human scale is maintained. Awe is reserved for the way careful scrutiny, combined with imagination, can shine a light into the unknown.
But there is an underlying theme. For Leonardo, to appreciate the world, one must first examine it ardently, like a devoted lover.
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