THE NOTEBOOKS OF LEONARDO DA VINCI: FASCINATING

By Barbara Smith

For most, the name Leonardo da Vinci conjures visions of the master artist’s two most famous paintings, the Mona Lisa and The Last Supper. Now, the Old Globe’s production of The Notebooks of Leonardo da Vinci will open your eyes, and in fact, all your senses, to an elevated appreciation of the genius of this complex Renaissance man. Written and directed by Mary Zimmerman, The Notebooks premiered in 1993 at the Goodman Theatre in Chicago, turning traditional theatre on its head.

“Zimmerman somehow recreates the dizzying sensation of seeing Leonardo’s drawings paired with his words, enchanting the eye with a choreographic suite of movements that connect word and image in one complete synthesis,” wrote dramaturg Drew Lichtenberg at its premiere.

Now in its 2023 iteration, prepare to be unprepared for a unique theatrical experience, a kind of art in the multiverse. Each of the eight characters in this enormously talented and culturally diverse ensemble plays the role of Leonardo, and every spoken word, with the exception of one brief vignette, was written by Leonardo himself. Most of what we know about da Vinci is known because of his notebooks. Da Vinci called the nearly 5000 pages that comprise these tomes, which reveal his countless passions from human anatomy to the possibilities of human flight, “a collection without order.” Writer/director Zimmerman has masterfully culled his musings, philosophical assertions, and thoughtful meanderings into a captivating montage of brilliantly choreographed scenes. Zimmerman’s take is a fluid combination of spoken word, music, color, and movement. Each of the actors

- Adeoye, Christopher Donahue, Kasey Foster, John Gregorio, Anthony Irons, Louise Lamson, Andrea San Miguel, and Wai Yim - brings polish, virtuosic physicality, and panache to the role.

The play’s scenes are a visual spectacle, another splash of paint on the canvas. Dreams and characters come to life in pictorial splendor. In one standout display, Adeoye, statuesque in musculature and grace, and Andrea San Miguel, a core of beauty and strength, entangle and disentangle in an impossibly fluid wash of movement.

Wit and humor abound in “Vitruvius Man,” based on da Vinci’s pen-and-ink drawing of a male figure, which illuminates the artist/scientist’s fascination with human form and proportion. Measuring sticks, quizzical looks, and expressions of glee make for an engaging tableau. Another scene that pops incorporates ele - ments of step dancing in a nod to the African American dance form. In a percussive mixture of footsteps, spoken word, and hand claps the scene soulfully unfolds.

The set, perhaps mirroring the complexity of da Vinci’s mind, features stage-high filing cabinets that the actors climb and sometimes reach inside a collection of intricately intersecting ropes; bars from which the actors hang and swing; and a changing colorful backdrop. It is dizzying and endlessly fascinating.

Whether you are already familiar with the genius of da Vinci or you arrive with a clean slate, this 90-minute flight of fancy provides an exhilarating ride. The mind-bending show is fittingly showcased at Balboa Park’s Old Globe Theatre, a venue surrounded by myriad museums exploring art, science, engineering, astronomy, and more. You’ll be challenged, entranced, and likely inspired to further explore Leonardo’s world after viewing the production. The Notebooks of Leonardo da Vinci runs through February 26. For ticket information, visit www.theoldglobe.org.