Marlene. The one name says it all. Now playing at Atlas Performing Arts Center by way of ExPats Theatre, Marlene provides a glimpse of the woman behind the legendary name. Those of a certain age and even younger might be familiar with the name and exotic persona, but here’s a chance to peek under the surface to get an idea of the actual person. With one of the most recognizable names, faces, and swaggers in music and films of the 1930s and 1940s, Marlene Dietrich captivated audiences with her unique style and portrayals of women. Watching Karin Rosnizeck inhabit the role is as good as it gets. In the script by Pam Gems, Marlene shares bits of her life story as she prepares for a performance in engaging segments. The focus stays on her like the spotlight that she directs must align to her mark exactly with pink undertones that we can actually differentiate — terrific lighting design by Ian Claar. Karin Rosnizeck as Marlene Dietrich in ‘Marlene.’ Photo by Teresa Castracane Photography. In the play set mostly backstage in a Parisian theater, Marlene makes her needs and wants known from the opening moments with stark diva expectations. Her trusty assistant Vivian, played with humble verve by Valerie Adams Rigsbee, attends to her sometimes strident requests, listens patiently to the many complaints, and gently placates Marlene’s adoring fans and public who crave for more. Another helper, the wordless Mutti, played hauntingly by Hilary Kacser, shuffles along in and out, attentive to the aging star’s emotional needs that flare up periodically. Music director/pianist Lucia LaNave keeps the action flowing with excellent accompaniment, especially the concert at the end, while Vanessa Gilbert’s assured direction showcases the various aspects of this fascinating character. Marlene’s work ethic was legendary as she dispelled “luck” and instead showed the hard work it takes to get what you want. We get a sense of the enormous effort for her to perform, through addictions, vicious vilification, even phobias about dirt and grime where she drops to her knees to scrub spotless floors, probably a germaphobe before the term was invented. She endured searing pain that made her buckle and fall at one point, in her leg and also likely from corsets pulled so tight that she couldn’t breathe. Some moments she just doesn’t have it in her to tromp through another performance. Here’s where she falls into the arms of the mysterious Mutti, her confidante who apparently bears the scars of internment in Dachau, touchingly portrayed by Kacser. As seen in the production, Dietrich flipped far beyond the social and cultural mores of the time in so many ways, including loving jazz, appreciating African American performers, and having a wild streak of social indifference. Her amorous liaisons topped the charts, and she lived with a devil-may-care verve and portrayed androgynous styles and attitudes with ease. At the same time, Dietrich was continuously coming to grips with her German heritage and relatives and countrymen who participated in the Nazi regime. As Marlene, Rosnizeck hits these reflections full tilt, totally flummoxed by the massive acceptance of the ferocious inhumanity of the Holocaust genocide, how loving neighbors and friends could succumb to the thrall of diabolic acts through their actions or inactions of looking away determined not to see anything. Marlene is incredulous that such horror could actually happen in her beloved country. She is also nearly devastated when her mild actions of reconciliation are rebuffed and she’s castigated as a traitor. It’s a remarkable depiction. Hilary Kacser (Mutti); Karin Rosnizeck (Marlene); Karin Rosnizeck and Valerie Adams Rigsbee (Vivian), in ‘Marlene.’ Photos by Teresa Castracane Photography. Also striking in the production is the concert at the end. Dietrich was adamantly self-aware about her unremarkable singing voice. As she noted — when she looks so striking in her dress, who cares what she sounds like! (Big nod to Donna Breslin’s exquisite costume design.) And it’s true. Rosnizeck’s rather passable musical tones come across as gifted as the actor takes her stance and gives her all in homage to artists from Edith Piaf to Pete Seeger. The repeated stanzas of “Where Have All the Flowers Gone” crest and crescendo and relay so much in a touching theatrical experience in a remarkable musical rendition. Lighting and projections by Ian Claar set the tone and help tell the story with images of a young film ingenue, the sultry eyes and alluring movements. The projections even portray the excitement of curtains being pulled back as well as the throng of Dietrich’s massive fan base when she performed for adoring American troops after renouncing her German citizenship. Sound design by Laura Schlachtmeyer is perfectly aligned with the lighting to showcase the songs of the period, the clamoring of the audiences, and even the devastation of German occupation. ExPat’s Marlene is an example of the extraordinary talent tucked away in small spaces. It’s worth the trip to catch. Running Time: One hour and 40 minutes, no intermission. Marlene plays through October 20, 2024, presented by ExPats Theatre performing in Lab Theatre II at the Atlas Performing Arts Center, 1333 H Street NE, Washington, DC. Showtimes are 7:30 pm Thursdays, Fridays, and Saturdays, and 2:30 pm Sundays. For tickets ($52.75, general admission; $47.25, senior; $24.25, student), call the box office at 202-399-6764 or go online. For ages 18 and up. COVID Safety: Atlas Performing Arts Center strongly recommends that all audience members wear masks while inside the venue, but they are no longer required. See Atlas’ complete COVID policy here. Marlene, by Pam Gems CAST Marlene Dietrich: Karin Rosnizeck Vivian Hoffman: Valerie Adams Rigsbee Mutti: Hilary Kacser French Stage Manager: Gary DuBreuil PRODUCTION TEAM Director: Vanessa Gilbert Stage Managers: Laura Schlachtmeyer and Amberrain Andrews Scenic and Projections Designer: Tennessee Dixon Lighting Designer/Intimacy Choreographer: Ian Claar Costume Designer: Donna Breslin Sound and Technical Assistant: Laura Schlachtmeyer Speech Coach: Hilary Kacser MUSICAL TEAM Music Director/Pianist: Lucia LaNave Music Advisor: Achim Gieseler Singing Coach: Jennifer Suess SEE ALSO: ExPats Theatre to present ‘Marlene’ by Pam Gems (news story, August 22, 2024)