Directed by Femi Elufowoju Jr, this adaptation of Tennessee Williams’ 1944 play comes with the baggage of taking on an all-time classic, but it does so with empathy and style.
Tom Wingfield (Michael Abubakar) is “starting to boil inside”. He feels stifled living in a small St. Louis apartment with his loving but controlling mother Amanda (Lesley Ewen) and his sister Laura (Naima Swaleh), who suffers from both crippling shyness and the after-effects of childhood illness. Tom works joylessly in a shoe warehouse to support the three of them while dreaming of adventure and travelling further afield – like his father, who abandoned the family 15 years previously. Amanda persuades Tom to invite a friend to dinner in the hope that this “gentleman caller” will fall in love with her fragile daughter and save her from poverty, solitude and her dreamy remoteness.
The first half unfolds slowly, allowing plenty of time to fill in the characters of the three family members. There are flashes of humour amid an overwhelming sense of sadness and frustration. The second half introduces Jim O’Connor (Charlie Maher), the gentleman caller upon whom so much expectation rests, and the intensity goes up several gears. As the plot develops, so too do the performances. Subtle – and less subtle – transformations ensue.
The moments in which Jim and Laura begin to reveal their true selves are utterly heartrending and exquisitely judged. My only criticism is that part of this key scene, with the pair sat on the floor, was difficult to see from the section of the theatre in which I was sitting. That said, it would be impossible to make such an intimate exchange equally visible from every angle. And anyway, the acting was so assured that their conversation was compelling even when I couldn’t see their faces. The devastating vulnerability on display takes you aback.
The set – often dim and shadowy, in keeping with the memories of the narrator – brilliantly frames the action. Beyond the claustrophobic interior of the apartment, there’s the moonlit fire escape with views of the dancehall along the street and the promise of greater freedoms beyond. With these simple elements a whole world is evoked.
Wisely, this production doesn’t attempt to reinvent Williams’ work. With the sparkling dialogue and perfect pacing of the source material, it could hardly be improved upon. What the show does instead is to tease out the delicate nuances of each character and the generous humanity of the writing, exploring the various shades of the emotional truths implicit in every line. The result is deeply affecting.
REVIEWED FOR THE SPY IN THE STALLS.