Elizabeth McGovern looks stylish and remarkably captures the fading elegance of ailing Golden Age movie queen, Ava Gardner. However, it is Aaron Costa Ganis as writer Peter Evans who deserves the standing ovation.
It’s London, 1988. Desperate for money, broke Ava Gardner (Elizabeth McGovern), who is recovering from a stroke, hires writer Peter Evans (Aaron Costa Ganis) to be a ghostwriter for her autobiography. Ironically, she will not entertain questions about her former relationships with entertainers Mickey Rooney, Frank Sinatra, Artie Shaw, and entrepreneur Howard Hughes. Peter’s literary agent, Ed Victor (the off-stage voice of Michael Bakkensen, who also serves as the understudy for Peter), pushes Evans to get the juicy gossip of Ava’s private life, especially with Sinatra. There is a rumour of his rather large endowment. Ed claims dirt sells books. Peter wants to become a novelist. He’s uncertain whether to take on the job of writing Gardner’s biography. However, when he hears about Ava’s impoverished childhood growing up, Peter believes he can fulfill his desire to become a famous writer in the style of John Steinbeck’s The Grapes of Wrath.
As the audience enters during the pre-show, Alex Basco Koch projects photos of the late movie queen at the peak of her career, which aptly capture Gardner’s true beauty. Scenic designer David Meyer pays close attention to minute details in envisioning a posh hotel room adeptly lit by Amith Chandrashaker’s designs. Toni-Leslie James’s costume designs capture the late 80s style appropriately. I even remember wearing a similar jacket, shirt, pants and shoes worn by Ganis when I began my career as a Catholic educator in the late eighties. I especially liked the big band sound of Cricket S. Myers’ musical pre-show selection as Gardner’s photos were projected. As the play continues, Myers’ timed sound design becomes of prime importance.
Director Mortiz von Stuelpnagel leans positively in wanting to tell the truth behind Ava’s story. He succeeds. McGovern’s Ava often conveys believable angst and regret about past dalliances and her long-ago Hollywood career. However, there seems to be an underlying sense that von Stuelpnagel has more fun staging moments from Ava’s past that might not have happened, most notably in her tempestuous relationship with Sinatra.
Elizabeth McGovern captures the elegance of the ailing, fading Golden Age movie queen with remarkable precision. She sparkles and looks great in Toni-Leslie James’s costume designs. Although Ava is described as bonkers at one point, McGovern conveys a likeable sass and delicious, bitchy wit in her conversation with Ganis’s Evans. There’s a twinkle in her eye when McGovern’s Ava begins to ask inappropriate questions of Peter at one point.
However, let’s be realistic here. Audiences have flocked to see the production because we have all been smitten by McGovern’s Lady Cora from Downton Abbey. Yes, McGovern is excellent as Ava. Yes, the audience gives her a standing ovation, and that’s fine. McGovern’s performance remains one of the reasons you should see the show.
It is Aaron Costa Ganis as Peter Evans who truly merits the standing ovation.
His Peter’s character arc becomes a fascinating and intriguing journey to watch and to experience. Ganis commands the stage with a boldness and directness much like screenwriter Joe Gillis from Sunset Blvd. Ganis’s body language conveys a great deal from where I sat in the house. He becomes smitten with McGovern’s volatile, unnerving Ava. Ganis’s Peter instinctively knows when to move forward with logical reason as a writer to get dirt and when to pull back when he senses he’s getting in too deep. He’s also a terrific singer, and that will become clear when you see the show.
I’ve always been intrigued and fascinated by the Hollywood from the 30s, 40s and 50s. The holding out for more money, the backroom or boardroom affairs, the clandestine meetings. All that stuff is pure gold for me as an audience member.
Although I haven’t read The Secret Conversations, McGovern’s script adaptation works. It’s sharply written. It’s telling in the truth of what happened, what might have happened or what could have happened. If Elizabeth had herself in mind to play Ava since she laid the groundwork, I say go for it.
I also learned that the real Gardner fired the real Evans and, at one point, completed the book on her own. Another reason why I was looking forward to seeing this production. Juicy stuff for Tinseltown enthusiasts like me.
Running time: approximately 90 minutes with no interval/intermission.
Ava: The Secret Conversations runs to November 30 at the CAA Theatre, 651 Yonge Street, Toronto. For tickets: mirvish.com or call 1-800-461-3333.
DAVID AND HANNAH MIRVISH present
Ava: The Secret Conversations by Elizabeth McGovern
Based on the Book: The Secret Conversations by Peter Evans and Ava Gardner
Produced with the Support of the Ava Gardner Trust
Directed by Moritz Von Stuelpnagel
Sound Design: Cricket S. Myers
Costume Design: Toni-Leslie James
Lighting Design: Amith Chandrashaker
Scenic Design: David Meyer
Projection Design: Alex Basco Koch
Production Stage Manager: Avery Trunko
Performers: Elizabeth McGovern, Aaron Costa Ganis, Michael Bakkensen
