In a season that is often dominated by musical adaptations of films and famous catalogs, "Lempicka" emerges as a refreshingly original piece of art. This musical, currently playing at the Longacre Theatre, delves into the captivating life of Tamara de Lempicka, a mid-20th century female painter whose name may not be familiar to many.

Starring Eden Espinosa in the title role, "Lempicka" follows the journey of the artist from her escape from Bolshevik Russia to her rise as one of the most renowned Art Deco painters of her time in Paris. Alongside her artistic achievements, Lempicka made headlines for her numerous bisexual extramarital affairs, adding another layer of complexity to her fascinating story.

Conceptualized by Carson Kreitzer, who also wrote the book and lyrics, and featuring music by Matt Gould, the musical delves into the fleeting nature of artistic taste and the impact of major historical events. Lempicka finds herself caught "between two wars, between two lovers," symbolizing her existence at the intersection of two distinct cultural and artistic epochs.

While the personal aspects of Lempicka's story, particularly her entangled romantic relationships with her husband (played by Andrew Samonsky) and her lover Rafaela (portrayed by Amber Iman), are well-developed, the musical falters when it comes to capturing the historical and political events that shaped Lempicka's era. The Russian Revolution and the rise of fascism are condensed into single songs with simplistically written lyrics and jarring musical intensity.

Directed by Rachel Chavkin, known for her transformative work on productions like "Hadestown," "Lempicka" fails to fully showcase her distinctive touch, leaving audiences somewhat disappointed. The set design by Riccardo Hernández features steel girder staircases reminiscent of the Eiffel Tower, which chop up the space, resulting in most scenes being set on a small moving platform. The lighting, by Bradley King, is mostly ineffective, and the atmospheric projections by Peter Hylenski and Justin Stasiw can sometimes feel heavy-handed.

Unfortunately, the costumes designed by Paloma Young also fall short, with an ensemble dressed in ill-fitting Madonna-inspired outfits, clashing with the period clothing worn by the lead characters. Raja Feather Kelly's choreography for the ensemble appears disjointed and confused, encompassing elements of ballroom partner dance alongside TikTok-like arm movements.

Despite these shortcomings, the performances by Espinosa and the entire cast shine brightly. Espinosa's portrayal of Lempicka spans almost six decades of the artist's life, showcasing her character with undeniable swagger. The supporting actors, including Beth Leavel and George Abud, deliver standout performances that enhance the overall production. Iman, in particular, commands attention with her magnetic stage presence and powerhouse vocals.

"Lempicka" unquestionably presents an original and compelling piece of art in a season dominated by more traditional musical offerings. It explores a range of themes, from the struggles of artists and the yearning for a lasting legacy to the challenges faced by queer individuals. Its relevance to our current turbulent times is evident, as it encourages audiences to pursue their passions, love wholeheartedly, demand change, and, above all else, continue creating art.

Throughout the musical, Tamara de Lempicka grapples with the desire to leave a lasting impact through her art. "Lempicka" itself now has the opportunity to fulfill that wish by introducing this remarkable artist to new audiences, providing a spotlight for those who already appreciate her work, and solidifying her place in the pantheon of great queer and female artists.

As Lempicka once said, "It's a bitch to outlive your own context." With this musical, her context will undoubtedly live on in the hearts and minds of all who experience its power.