Displaying items by tag: William Inge

They say you should never meet your heroes. That may be the case in Philip Dawkins' new play 'The Gentleman Caller' at Raven Theatre. Dawkins', a popular local playwright, was commissioned to write this play about the strange friendship between Tennessee Williams and William Inge. This is Cody Estle's first production as artistic director of Raven Theatre. Tennessee Williams and Inge are often featured in Raven seasons, and 'The Gentleman Caller' gets a fitting premiere here.

The play is told in two scenes, the first takes place in a young William Inge's garden apartment in St Louis in 1943. It's supposed that Inge, a newspaper critic attempted to interview a then unknown Tennessee Williams about his upcoming play 'The Glass Menagerie'. The second act is a few months later, New Year’s Eve. Inge visits Tennessee Williams in a Chicago hotel following the premiere of the play. No record exists of dialogue between the two playwrights, but they maintained a relationship of sorts over the years. The dialogue in Dawkins' play is as he imagined it would have been.

This is an important distinction to make. The events of this play are highly fictionalized. 'The Gentleman Caller' says a lot about what Philip Dawkins thinks of these two playwrights. The character he's written for Tennessee Williams isn't very likeable. Throughout the play Williams feeds Inge a frustrating string of non-answers. Inge, a closeted homosexual is uptight and put off by Williams' vulgarity. There's a lot of sexual tension between the characters, but who’s to say if that was really the case.

Dawkins' play has an inspiring message for creative types or anyone that feels different. It gets a little buried in slow-moving and often redundant dialogue but there's some solid wisdom in there. Estle seems to share a similar vision for this production. It has the feeling of being at a Tennessee Williams or William Inge play.

There are only two actors in this play, Curtis Edward Jackson plays William Inge and Rudy Galvan plays Tennessee Williams. Jackson is well suited for Inge's restrained temperament. His final monologue is captivating. Galvan is somewhat miscast. The depth of his character gets lost in an unconvincing and mostly unflattering impression of Tennessee Williams.

In this play, we see Inge so very disappointed in Tennessee Williams the man, rather than the hero he'd imagined him to be. It may be that when researching this play the author came to the same conclusion. There's a melancholic thread throughout 'The Gentleman Caller'. It shows us a side of our literary heroes we may not like to see. The part behind closed doors and sometimes without success. In that regard, Tennessee Williams would certainly approve of this play.

Through May 27th at Raven Theatre 6157 N Clark Street. 773-338-2177

*Extended through May 27th

It's not often you'll hear cool and the play 'Picnic' in the same sentence, but director Will Davis' new version at American Theater Company is just that. This is William Inge's 1953 Pulitzer Prize winner as you've never seen it before. For many, 'Picnic' triggers high school boredom flashbacks. When traditionally produced, this play can tend to be a little dry. Not the case here, with unique staging and deconstructed notions of gender, Davis brings Inge's work into our century. 

William Inge was himself gay in a time period in which it was not acceptable. The theme of secret desire in 'Picnic' parallel Inge's own struggle with being other in a more straight-laced world. Though the Midwest has certainly changed since the 1950's, much of its close-mindedness still exists and that's what remains relevant about Inge's play. 

This is Will Davis' first full season as artistic director of American Theater Company and this production is bound to get noticed. This version of 'Picnic' begins as almost performance art; a woman takes a seat at a piano and the cast enters in the shadows. In look and feel, this production couldn't be more different from the traditional staging. While jarring at first, the cast immediately finds its footing and makes Inge's dialogue come to life. Artful and visually stunning effects are peppered throughout, which make for a memorable experience. 

Performances are impressive here. Davis' gender-blind casting forces you to focus not on what a performer looks like but rather how their performance makes you feel. In the role of transient stud Hal, is Molly Brennan. While it's apparent she is female, through costuming and attitude, Brennan delivers Hal with such sincerity, it brings to mind Mary Martin's Peter Pan. Malic White is striking in the role of Madge. White's petite and soft spoken Madge turns preconceived notions about feminine beauty on its head. Spinster school teacher Rosemary is played hilariously by Michael Turrentine whose physicality couldn’t be more spot on. 

Classic plays should be analyzed in every time for their relevance. These plays can only stay part of the cannon if they connect to a modern audience. It's important for theater companies to take risks and make bold choices to usher these works into a new millennium. Will Davis' 'Picnic' hints at a fearless future for American Theater Company. 

Through April 23 at American Theater Company. 1909 W Byron St. 773-409-4125