AVA: THE SECRET CONVERSATIONS

Review by Celia Ipiotis

Evidently, the Hollywood beauty Ava Gardner loved sex. And why not, she was gorgeous, she married men who were equally, avidly physical and in the end, this self made woman could direct her own choices.

AVA: The Secret Conversations written by Elizabeth McGovern and based on the book by Peter Evans  and Ava Gardner commands Stage I at City Center. Set in an elegant sitting room designed by David Meyer, it is  anchored by a writing desk, satin couch and fluffed up bed. 

The play tracks Gardner’s decision to invite celebrity journalist Peter Evans (an effective Aaron Costa Ganis) to collaborate on her autobiography.

Aligned with some very famous men–Mickey Rooney, Frank Sinatra, Howard Huges, Artie Shaw–Peter’s editor wants the book to center her relationships. Ava has other ideas. An uncontrollable flirt, Ava conquers Peter (who is married) while cajoling him to look beyond her men to her craft and early impoverished childhood in North Carolina. She also points to a Hollywood system that pigeon holed her until she emerges as a “serious actress” in The Killers.

Particularly peeved when the studio does not let her record her own singing voice in Showboat, Ava contends she actually had a fine singing voice–who knew? Another nugget emerges when she recounts how she pleads for Sinatra (the love of her life), to be cast in the film From Here To Eternity. That move revived his sagging career. 

The most surprising revelations surround Ava’s marriage to Artie Shaw, the great jazz musician. Without resorting to sensationalism,  Ava reveals that of all the men in her life, he was psychologically the cruelest and the most controlling. Evidently a brilliant man, Shaw strong-arms Ava who quickly dumps him.

Ultimately, Gardner nixes the publication of the autobiography because she feels Peter was compromised by a contretemps with Sinatra years earlier. Constantly moving, McGovern shifts emotional gears as frequently as she changes gorgeous, flowy 1950’s outfits by Toni-Leslie James.

Directed by Moritz von Stuelpnagel, McGoven glides weightlessly over any profound insights and instead simply licks the delectable, sweet frosting layering her career.

A pleasure to see McGovern on stage, this light theater fare triggers a desire to re-watch Gardner’s glorious films.

EYE ON THE ARTS, NY — Celia Ipiotis