Midtown International Theatre Festival
Presents

LOVE, GENIUS AND A WALK

Written by Gay Walley
Directed by Gregory Abels
Produced by Vicki Abrams
Costume Coordinator: Coleen Heany
Lighting Design by Sam Gordan
Stage Manager: Amanda Wilson

Featuring: Shelley Valfer, Breanna Arneson, Paul Binotto, Lara Hillier, Kathleen Wallace, Alexander Pepperman, Joshua Warr, Jimmy Dailey, Kelly Leissler, Alexandra Dickson, Silas Moores

Press Representative: Bunch of People Press and Publicity

June Havoc Theatre
312 West 36th Street
August 2 at 6pm; August 3 at 5:30pm; August 4 at 1pm
866.811.4111; https://webovationtix.com/trs/cal/27845
www.lovegeniusandawalk.com

In LOVE, GENIUS AND A WALK, Gustav Mahler’s life in Vienna is juxtaposed with a 21st century writer’s life in New York City. Gusti, as his wife Alma calls him, is obsessed with finishing his 10th symphony. She is frustrated and wants more of Mahler’s time and attention. The elder Mahler is madly in love with Alma, and is torn between completing his symphony and devoting time to his wife and their marriage. Meanwhile, the New York City author is obsessed with her current book about Mahler and his life. Her husband does not understand her passion and suggests she write about something more contemporary, i.e. popular culture. Their lives are independent of one another. The author seems to embody both Mahler and Alma in that she is obsessed with her work and wants more of her husband’s attention to her and her work.

When Gustav learns of Alma’s affair with the architect, Walter Gropius, he reaches out to Sigmund Freud for help. The two Viennese intellects knew of one another but had never met; Mahler not being a fan of analysis, and Freud not being a fan of music. Their one and only infamous four-hour meeting – a walk around Leiden – is an intense discussion between these two geniuses. Freud advises him to spend more time on his marriage and shower his wife with gifts and love. In turn, she will allow him the time he needs for his work. Love is a balancing act. “There is no freedom, no freedom at all, from difficulty. All of life, Herr Mahler, is suffering,” Freud offers.

The female writer is often alone at her desk writing, as was Mahler. Her husband, Steve, is frustrated with her obsession, as Alma was with Mahler. She wants more from Steve, but he is a financial analyst who is more interested in his work, his tennis games and seeing his friends. Their lives are not in sync, though she is deeply in love with him. However, as with Alma, she begins to doubt the stability of their marriage, and begins to engage with another man.

The set is simple. The entire cast is seated on stage, and scene changes occur with moving chairs and actors stepping up for their roles, as the stories of the two couples are played out intermittently.

Gloria Talamas