Tennessee Williams' most autobiographical play is perhaps also his most poetic. ATC's new production of the classic is at its best when it embraces this poetry, while the plainer periods often left me wondering how intentional the melodramatic style was.
The cast of four are charismatic actors. Indeed, Elizabeth Hawthorne seems perfectly at home as one of Williams' anxious Southern Belles. Richard Knowles had me hanging on his every word. Antonia Prebble and Edwin Wright created the most complex characters, but like two sides of a coin one underplayed the drama in their given circumstances while the other overplayed it. This unevenness was somewhat jarring.
The action of the play is slight, but design elements such as a revolving stage, projected pictures, melodramatic lighting and musical undescoring are effective in maintaining momentum. In fact, the journey is so pleasant, I was constantly engaged, despite the ambling pace. This is a great achievement.
Where I felt let down was at the play's end. The end seems to return us to the beginning. This circularity was beautifully reinforced by the spinning stage. Likewise, the insularity and seclusion of mother and daughter was underlined and reflected in the treatment of the titular collector's pieces. This lack of change, therefore is rather affecting and provides enough tragedy for an ending. However, one major element does change, and this felt all but ignored. Our narrator reaches the end of a chapter, which is the start of a new life for him. In choosing this new life, he chooses to abandon his family. This is a big deal. In fact, he has spent the duration of the play trying to find for them a replacement provider. I did not feel that Wright understood this concept - which ought to have motivated his every action. If he did understand it, he certainly did not attach high enough stakes to the scenario for his eventual desertion to resonate the way it ought to have. Furthermore, the whole story leads to the point at which he deserts his family and it was hardly shown. In such a visually bold production, it seems strange that this moment was given no memorable visual.
Plays need endings. It is there if you look for it, but the resolve was certainly not given the attention it deserves.
See this play if you enjoy Williams' iconic style. There is a lot here to love: Williams' words are pretty, poetic, and often profound; this production is a visual feast.
The cast of four are charismatic actors. Indeed, Elizabeth Hawthorne seems perfectly at home as one of Williams' anxious Southern Belles. Richard Knowles had me hanging on his every word. Antonia Prebble and Edwin Wright created the most complex characters, but like two sides of a coin one underplayed the drama in their given circumstances while the other overplayed it. This unevenness was somewhat jarring.
The action of the play is slight, but design elements such as a revolving stage, projected pictures, melodramatic lighting and musical undescoring are effective in maintaining momentum. In fact, the journey is so pleasant, I was constantly engaged, despite the ambling pace. This is a great achievement.
Where I felt let down was at the play's end. The end seems to return us to the beginning. This circularity was beautifully reinforced by the spinning stage. Likewise, the insularity and seclusion of mother and daughter was underlined and reflected in the treatment of the titular collector's pieces. This lack of change, therefore is rather affecting and provides enough tragedy for an ending. However, one major element does change, and this felt all but ignored. Our narrator reaches the end of a chapter, which is the start of a new life for him. In choosing this new life, he chooses to abandon his family. This is a big deal. In fact, he has spent the duration of the play trying to find for them a replacement provider. I did not feel that Wright understood this concept - which ought to have motivated his every action. If he did understand it, he certainly did not attach high enough stakes to the scenario for his eventual desertion to resonate the way it ought to have. Furthermore, the whole story leads to the point at which he deserts his family and it was hardly shown. In such a visually bold production, it seems strange that this moment was given no memorable visual.
Plays need endings. It is there if you look for it, but the resolve was certainly not given the attention it deserves.
See this play if you enjoy Williams' iconic style. There is a lot here to love: Williams' words are pretty, poetic, and often profound; this production is a visual feast.
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