‘Oslo’ and ‘War Paint’ are theater opposites, attractive

“THERE ARE dark shadows on the earth, but its lights are stronger in the contrast,” said Charles Dickens.

I came across this quote quite by accident a while ago, possibly in The Week magazine. I put it aside.

It came back to me last week when I was out two nights running. I saw J.T. Rogers’ “Oslo” and “War Paint,” the musical Doug Wright/Scott Frankel/ Michael Korie).

To say I experienced darkness and light would be an understatement. “Oslo” is playwright J.T. Rogers’ somewhat fifictionalized account of the life and death struggles of the Oslo Peace Accords on 1993. “War Paint” is a mostly lighthearted look at the careers and rivalry of cosmetic queens Helena Rubinstein and Elizabeth Arden.

My head should have been spinning, but I found I was comforted — not to mention extraordinarily entertained — by the contrasts, the dark and light of both shows. There was lightness and humor (quite a bit) in “Oslo” and more substance than one might expect in “War Paint.” There really is nothing like the theater!

It is beyond my capacity to accurately convey the brilliance and power of “Oslo.” That its opening night occurred during Passover lent the evening an added emotional undercurrent that was overpowering. It is the story of two apparently unprepossessing, but determined, Norwegian diplomats who endeavor to negotiate peace talks between Israel and the

in a most unusual manner. It really happened, although as the playwright admits, it is his imagining of the events — his dialogue, his dramatic license with facts, characters and motivations. It matters not at all.

Brilliantly performed by every actor, “Oslo” conveys the passion, tragedy, eternal hope and the tragic crushing pessimism of the battle between Israel and Palestine, between heart and head, pride and prejudice. It is dense frustrating politics, leavened with great humor — the piece is studded with hilarious one- liners.

When I say every actor is brilliant, I mean it. There is no wasted space on the stage of the Vivian Beaumont. And you are reminded, as you are almost every day on the news — of the centuriesold, perhaps insoluble issues of the Middle East.

AS FOR “War Paint” it is exactly what I expected. No, wrong — more than I expected. It’s delicious. It’s exquisitely costumed.

It sticks pretty close to facts of the lives of Rubinstein and Arden, both of whom revolutionized the beauty industry. For a show about two women who never actually met or spoke to each other (of course, here they do, at last) working in the superfificial world of lipsticks and face creams, “War Paint” seems a lot meatier than it should be. This is due to the dazzlingly swift and clever direction and staging by Michael Greif. There are no lulls, no longueurs; no time to analyze.

The music is fifine — often witty, sometimes poignant — although most of the songs relate to the book — “Best Face Forward,” “Inside the Jar,” “Fire and Ice,” “Behind the Red Door.” There will be no stand-alone breakouts, except, perhaps, If I’d Been a Man.” Throughout “War Paint” we not only hear of each woman’s personal internal struggle, but also their battle to compete and strive and triumph in a man’s world. It’s feminism via a rejuvenating mask. (In a way, it’s a more benign version of TV’s “Feud” with tunes.)

This show is about the women, the stars. And what stars! Yes, everything that you hoped for between Patti LuPone as Helena and Christine Ebersol as Elizabeth happens. These Broadway icons catch fifire (and ice!) instantly, and never let down for an instant.

It’s delectable, sumptuous, easily digested, hugely enjoyable theater. And after the hysterical standing ovation, one does feels the need to pull out a compact and fifix up.