A Rare Look At Two Late Tennessee Williams Plays - Produced by Playhouse Creatures Theatre Company at Walkerspace, 46 Walker Street, TriBeCa

Jade Ziane as Mint
Kate Skinner as Mme. Le Monde
"The Remarkable Rooming-House of Mme. Le Monde"
Tennessee Williams 1982
The Playhouse Creatures Theatre Company
Walkerspace, 46 Walker Street, TriBeCa
Through March 13th

Even if you are an ardent fan of the works of Tennessee Williams, I would be willing to bet that you have not seen productions of the two one-act plays that are running through March 13 at Walkerspace in TriBeCa.  Playhouse Creatures Theatre Company is offering a provocative pairing of two one-act plays under the umbrella title of "Tennessee Williams 1982."  In that year, Williams wrote "A Recluse And His Guest," as well as "The Remarkable Rooming-House of Mme. Le Monde."  This is a World Premiere for "Recluse" and a New York Premiere for "Rooming-House."

These late plays by Williams have generally not fared well in critical evaluation as they are compared with his well know masterpieces. Romanian born Director Cosmin Chivu has championed the rehabilitation and re-evaluation of these plays, and it is under his creative direction that these two plays appear now in New York.  Scenic Designer Justin West has created an adaptable space that serves both plays.  The design fits as the home of the eponymous recluse in the first play, and also captures the wild ethos of a Punked-out group of Londoners.  Lighting by John Eckert and flamboyant Costumes by Angela Wendt set the right tone, as does original music by Paul Brantley.

"A Recluse And His Guest" tells the bizarre Scandanavian tale of a hermit who inexplicably takes in an outcast woman, offers her safe haven and even affection, and then throws her back out into the cold.  "The Remarkable Rooming-House of Mme. Le Monde" is a black comedy, Mint(Jade Ziane), a disabled young man is being kept in the attic of Mme. Le Monde's (Kate Skinner) establishment.  He is being sexually abused by the Madame's son (Declan Eells), and is visited by a former schoolmate, Hall (Patrick Darwin Williams).  Hall is apparently a former adolescent lover of Mint, but is now a very high priced sex worker, and avers that Mint cannot afford him.  Hall spends much of his visit verbally abusing the young man, until Mme. Le Monde appears and escalates the action to an unexpected level. Because of his paralysis, Mint gets around the attic loft by hooking himself into a series of hanging loops that look like mini-nooses. The physicality of Mr. Ziane in negotiating this obstacle course is one of the delights of this production.  In his more well-known works, Williams has certainly dealt with complex issues of sexuality and neurosis, but in this play, he throws all restraint to the wind and offers an outrageous narrative arc that is shocking and nihilistic.

In addition to the actors that make up the cast of "Rooming-House," "Recluse" also features Anne Wechsler, Beau Allen and Ford Austin.

If you are a fan of the work of Tennessee Williams or a student of the history of theater, you will not want to miss this rare sighting of two rare birds from Williams' creative nest.  "Tennessee Williams 1982" will run through March 13.

Playhouse Creatures Theatre Company Website

Enjoy!

Al

Boston Ballet Triumphs With The Timeless "Onegin" by John Cranko - Based On The Novel by Alexander Pushkin

Boston has been waiting several years to a triumphal return of John Cranko's timeless adaptation of Pushkin's novel in verse, "Eugene Onegin."  The fast has been broken, and the meal that Boston Ballet serves upon the stage of the Boston Opera House is a feast for the eyes and for the ears. Cranko's choreography is set to the hauntingly beautiful music of Peter Ilyich Tchaikovsky, perfectly rendered by the orchestra under the baton of David Briskin.

If you are not familiar with this beloved and tragic Russian tale, here is a bold stroke outline, taken from the Boston Ballet website:

Based on Alexander Pushkin's narrative poem, John Cranko's emotional ballet is a story of unrequited love. Eugene Onegin, a young and cynical aristocrat, travels to the country to attend a birthday party for Tatiana - the younger sister to his best friend Lensky's fiancé Olga. Tatiana naïvely falls in love with the brooding Onegin and writes him a passionate letter. Onegin rejects her love, tears up her letter, and amuses himself by flirting with Olga. Lensky, enraged by his friend's flirting, challenges Onegin to a duel. Despite pleas from both women, Lensky persists and in a cruel twist of fate, Onegin unintentionally kills his friend. Overcome with remorse, Onegin flees into exile.

The years pass, Tatiana matures into a beautiful woman and marries Prince Gremin. Onegin returns from his self-imposed banishment for a ball at the Prince's lavish palace. He meets Tatiana again and realizes the depth of his mistake in rejecting her all those years ago. In an attempt at redemption, it is now his turn to write a passionate plea to her, begging for her love and forgiveness. Though Tatiana still has feelings for Onegin, she vows to be faithful to her husband and sends Onegin away.

The performance I attended featured the same cast as Opening Night, and they were flawless in their execution.  What struck me most poignantly is that these performers are not only consummate dancers, but great actors and story tellers.  Each dancer upon the stage inhabited their character, adding to the choreographed steps idiosyncratic glances and gestures that defined the character and told the story.  I spoke with a member of the corps de ballet who shared with me some of the instructions that had been given to the dancers during rehearsal.  The basic message was this: "You cannot dance this ballet and tell this story without feeling the emotions.  Let the music dictate your steps, and let your steps inform your emotions."  It was clear that the dancers had taken those instructions to heart, and the result was a stunningly beautiful and moving evening of dance and story telling.

Tatiana rejects Onegin's pleas

"Onegin" by John Cranko

Boston Ballet

Boston Opera House

Through March 6th

In the arc of Pushkin's story, Onegin begins as haughty as he humbles Tatiana when he tears up her love letter.  At the end of the story, in counterpoint, it is Onegin who is humbled as Tatiana turns the tables and tears up his letter.  In the performance I witnessed, Lasha Khozashvili danced the role of Onegin to perfection.  In the first act, he was aloof and officious, untouchable.  But as he experienced survivor's guilt and was haunted by the specter of Lensky (Patrik Yocum), he visibly aged, a touch of grey spackling his hair like a second term Obama, ambulating with a slight slouch, and instead of striding with an officious bearing, he is now imploring as he throws himself at Tatiana's feet.  At the other end of the emotional seesaw, Tatiana rises in her moral choice to remain faithful to her husband, despite the fact that she still harbors deep feelings for Onegin.  Petra Conti was luminous and transcendent as Tatiana, her face and affect reflecting the spectrum of emotions that danced in her head and heart. The final tortured pas de deux between Tatiana and Onegin was a highlight - choreography, music and execution of the movement all reinforcing the ambivalence in Tatiana's soul as she is drawn, to Onegin, and then, in the end, rejects him.

Tatiana and Onegin
"Onegin" by John Cranko
Boston Ballet
Boston Opera House
Through March 6th

Also standing out in the performance was Mr,Yocum as Onegin's young protege, Lensky, who ends up challenging his mentor to a duel when Onegin interposes himself between Lensky and his fiancee, Olga, Tatiana's sister.  Olga was danced wonderfully by a very lithe and beautiful Ashley Ellis. Tatiana's eventual husband, Prince Gremin, was danced solidly by the statuesque Bo Busby.

Special mention must go to the corps de ballet and their lively interpretation of Cranko's flowing movements.  One scene stands out in my visual memory.  At the party in St. Petersburg, couples are dancing in wild celebration.  The men are lifting up their dates, who in turn are trusting their arms in the air in ecstatic release.  The overall effect was like watching the dancing fluid waters in the fountains at the Bellagio.

Staging by Agneta Stjernlof-Valcu and Victor Valcu was beautifully wrought. as was the Lighting by Steen Bjarke and the Scenic and Costume Design by Elisabeth Dalton.

This stunning programs runs through this Sunday.  It is Leap Day today, so I implore you to leap at the chance to see Boston's most artistic leapers tell this gorgeous story of unrequited love.

Boston Ballet Website

Enjoy!

Al