By Diana Miranda

After two sold-out runs at the Old Red Lion Theatre earlier this year, Nadia Jackson’s Maar, Dora continues to shine a light on the legacy of experimental photographer Dora Maar. Often portrayed by contemporary media and history books as Picasso’s muse, collaborator and mistress, Dora now steps out from the painter’s shadow to address the elephant in the room: Can her story truly be told without Picasso, or would erasing the cubist titan mean further displacing herself from a discipline focused on the male gaze? 

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