This imaginative and very charismatic character felt that "Truth should come before beauty," yet he self-absorbedly believed that his clients only thought they knew what they wanted in a home. Having been delayed for over one year, this frustrated department store owner and client, Edgar J. Kaufmann, was in car and racing towards Spring Green to view his set of plans. Little did he know, they were going to be well worth wait and would later be hailed as one of complete masterpieces of 20th century art that was Frank Lloyd Wright's most sublime integration of man and nature.

Having recently read Frank Lloyd Wright's 620 page, "An Autobiography", I was struck by how many details of this book were mentioned in this 90 minute play. Had I known, I would have saved torture of constantly putting book down in frustration due to Frank's over-the-top personality and egotistical ramblings. Don't get me wrong; I love Frank Lloyd Wright and deeply admire his horizontal lines echoed in his Prairie style of architecture. I was merely overwhelmed by his attitude of "honest arrogance" that accompanied his pure genius; yet, I finished reading book and soaked it up like a sponge. Now, having seen play, I concur with rave reviews that critics have lavished John Crowther with for bringing this hardworking, opinionated artist's life to stage. After production, I was told by Janis Hashe from Betty PR that it is being considered as an upcoming theatrical production at The Guggenheim Museum in New York City. You'll definitely want to put this on top of your must see list for New York theater!

Immediately following production, Director, Willard Simms, treated audience with a special guest, Mr. Julius Shulman, who did a brief poetic reading by Walt Whitman and then reminisced about his twelve days photographing with Frank Lloyd Wright at Taliesin West in Scottsdale, Arizona in 1950.

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What impressed me most about presentation of this dramatic period piece was excellent lighting and music. Both of which easily, and often, eerily led viewer from one emotional scene to next. Having thirty-one linear scenes, this meant a great deal of swift scene changes in roughly 90 minutes of theater production time. The back of stage was uplit from behind a row of shrubs that were often hidden from view behind a curtain and hence, created ominous shadows.

The stage lighting design of Dan Reed created a sense of revolving or continuing motion as row of uplights began on one side of stage and crossed to other side one by one. Like a domino effect, lights went on and dimmed. For those who have seen amazing computer choreographed music, water and light show at Bellagio Hotel and Casino in Las Vegas, you will understand slick motion and emotion created when one views such majesty. In this case, there was no water, but lighting, and resulting shadows, combined with sound design of Tim Labor and ethereal and often nutty period music of Janet Cline Slaughtery drew audience in closer to drama that was unraveling before our eyes.

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Kim and Don Tatera, Jetsetters Magazine Correspondent – Read Jetsetters Magazine at www.jetsettersmagazine.com To book travel visit Jetstreams.com at www.jetstreams.com and for Beach Resorts visit Beach Booker at www.beachbooker.com