The Gentleman Caller

The Gentleman Caller

Abingdon Theatre Company

Cherry Lane Theater

May 26, 2018

Photo courtesy of Abingdon Theatre Company

Philip Dawkins’ play, The Gentleman Caller, had a very successful New York City debut with Abingdon Theatre.  Poetically written, the play chronicles the meetings between Tennessee Williams and William Inge in 1944.  Mr. Dawkins captures the unique voices of both well-known American playwrights.  The action of the play reveals the sensitivity and personal turmoil that drove the creativity, success, and emotional isolation of both men.

As the Arts Critic for a newspaper in St. Louis, William Inge (played by Daniel K. Isaac) meets with Tennessee Williams (played by Juan Francisco Villa) for an interview a few months before the Chicago opening of The Glass Menagerie.  Tennessee Williams has not yet tasted the success that is just ahead of him, and William Inge only dreams of becoming a playwright.  Their meeting is fraught with conflict.  Both men are heavy drinkers and highly attracted to one another.  Williams is excessively flamboyant and openly speaks his mind, while Inge is closeted and turned off by Williams’ brazen directness.  When they part, Inge gives Williams an early draft of his play to read. 

Juan Francisco Villa & Daniel K. Isaac
Photo courtesy of Abingdon Theatre Company

Their second meeting is a few months later, after The Glass Menagerie has opened in Chicago.  The conflict and attraction between the two men accelerates.  Inge confesses his overwhelming admiration for Williams.  Williams tells Inge that his play is brilliant and passes the script to his agent.  While Inge is invigorated by the opportunity to start his life over as a playwright, Williams warns him of the dark abyss that awaits him.

Daniel K. Isaac & Juan Francisco Villa
Photo courtesy of Abingdon Theatre Company

Juan Francisco Villa portrays Tennessee Williams as a vibrant, energetic, and brooding man who is very sure of himself.  He suffers from devastating mood swings, haunted by his sister Rose’s “madness” and his fear of following in her path.  Daniel K. Isaac portrays William Inge as introverted, fearful, and refined with no self-confidence or self-empowerment.  His despair leads him to attempt suicide before this second meeting with Williams.  Director Tony Speciale keeps the tension between these two fine actors building in both acts of the play, allowing the themes in Mr. Dawkins’ superb writing to rise and stand strong.  The ending of the play is powerful and heartbreaking, as you see the path of both men’s lives take a turn as a result of their meeting. 

Scenic design by Sarah C. Walsh is an outstanding combination of reality and impressionism.  Lighting by Zach Blane and original music and sound design by Christian Frederickson enhance the atmosphere of the setting and allows for introspective moments by both characters.

Unfortunately, the Abingdon Theatre production of The Gentleman Caller closed on May 26.  Keep your eyes and ears open for future productions of this play and additional works by playwright Philip Dawkins.

Domenick Danza

Fade

Fade

Primary Stages

Cherry Lane Theatre

January 28, 2017

Photo courtesy of Primary Stages

The Primary Stages' production of Tanya Saracho’s Fade is presently playing at the Cherry Lane Theatre.  Ms. Saracho’s script is skillfully crafted with strong dramatic action that builds to a startling ending.  At first the play makes a strong social statement about the need for Latinos to stay bonded in our present political environment.  Then it grows into a story of friendship, professional achievement, and duplicity.  Jerry Ruiz directs with clear vision, allowing this two character play to feel large and effectively communicate on multiple levels. 

When Chicago Novelist, Lucia (played by Annie Dow), takes a job in LA writing for a network TV show, she finds herself over her head and alone.  She befriends Abel (played by Eddie Martinez), a custodian at the studio offices.  Lucia thinks they have a lot in common because of their shared Mexican heritage, but Abel knows better.  They gradually become close, only to find how they truly are from different worlds.

Eddie Martinez and Annie Dow
Photo courtesy of Primary Stages

Annie Dow is extroverted and determined as Lucia.  Her character is comfortable with herself and eager to succeed.  She is an open book and easily talks about her worries and concerns.  Eddie Martinez plays Abel as guarded and private.  His character is sincere and knowledgeable of how he fits into his surroundings.  When he open up and reveals himself, it is with cautious trepidation.  His character’s growth is evident in the trust he builds with Lucia.  The arc of Lucia’s character is in how willing she becomes to achieve her professional goals at the expense of others.

Ms. Saracho juxtaposes her characters with skill and care, making a statement that affects the audience on a deep level.  The two actors’ portrayals ring true.  They keep the audience riveted throughout the action of the play, making you wonder what will happen next.

Playwright Tanya Saracho at the Cherry Lane Theatre
Photo courtesy of Primary Stages

The word “fade” has numerous definitions   The Miriam-Webster definition is to lose freshness, strength, or vitality.  In the Urban Dictionary is means to insult someone with blatant disregard for their feelings.  If you “fade” a gang member, you are decreasing the number of members in their gang and effectively “fading” their color.  In movies and television, “fade” means to gradually increase or decrease the visibility of a scene.  It can also mean (as in Guys & Dolls) to cover a crapshooter’s bet, or bet that the shooter will lose.  These numerous definitions are all thematically evident in Ms. Saracho’s writing, Mr. Ruiz’s direction, and Mr. Martinez and Ms. Dow’s performances.

Fade is playing at the Cherry Lane Theatre through March 5.  It is a strong production and well worth seeing.

Domenick Danza

Nora

Nora

Cherry Lane Theatre

December 7, 2015

Photo courtesyj of Cherry Lane Theatre

The Cherry Lane Studio Theatre is the ideal location for the dark and intimate production of Nora, a stage version of Ibsen’s A Doll’s House, by Ingmar Bergman.  With audience on three sides in that small venue, everyone is able to obtain an up close and personal connection to the characters and their challenges.  The play is set in the time period of Ibsen’s original script, yet the location is not specified.  The subordinate role women play, although spoken about, is not portrayed through action.  We also do not see Nora interacting with her children.  Therefore, Nora’s decision to leave her husband and children at the end of the play is not as risky, shocking, or impactful as intended by Ibsen.

Jean Lichty and Todd Gearhart
Photo courtesy of Cherry Lane Theatre

Jean Lichty and Todd Gearhart are focused and thoughtful as Nora and Torvald.  Their relationship is strong, yet this adaptation lacks the playful “doll” aspect that is the basis for their attraction and marriage.  When Nora’s act of forgery is revealed, Torvald’s self-preserving reaction is clear and in the moment.  We do not, however, see Nora come to any realization in that scene.  Bergman holds off on Nora’s confrontation with her husband until later that night.  While he lies naked in bed, she awakens him, fully dressed, ready to leave.  Torvald is confused by her decision to walk out on him and the children.  He claims he is willing to change, yet she is unrelenting.  Torvald is victimized by her decision.  This feeling is heightened by director Austin Pendleton’s staging.  At the end of the play, Torvald is seated on the bedroom floor, naked and wrapped in a blanket from the bed. 

  

Jean Lichty and Larry Bull
Photo courtesy of Cherry Lane Theatre

The portrayals of Christine Linde and Nils Krogstad, by Andrea Cirie and Larry Bull, are dark and formal.  The sadness they carry due to their life experiences weighs heavy on them both.  The combination of this with their strong, palpable chemistry creates an intriguing storyline.

The hardship and despair in the lives of all the characters is evident and skillfully portrayed.  By the end of the play they are all cleansed of the guilt of their secrets and shame.  If this is Bergman’s intention, it is well directed and performed.  A journey to awakening, such as Nora’s, needs to have some sense of hope, awakening, and continuity.  Unfortunately, Bergman’s adaptation has stripped Ibsen’s play of those moments, leaving behind nothing more than a dark journey of loss and despair.

Domenick Danza