Review: 'Orpheus Descending'

There is a popular conception that talented stage actors can more easily adapt their fine performances for TV/film than the reverse is true, despite the star power effect on the box office. When the play in question is one of Tennessee Williams’ most challenging productions, there is a tendency to assume the worst going in, especially when the director—Lou Pepe, a documentary filmmaker is cutting his theatrical teeth on such an ambitious and unwieldy vehicle. Surprisingly, Denise Crosby of Star Trek TNG and Gale Harold of Queer as Folk dispel these notions and more than rise to the occasion with scintillating, tactile command in this modern epic love story.

The play, based on the Greek myth of Orpheus and Eurydice and rewritten by Williams after the critics panned his first attempt, “Battle of Angels” in 1940 bears his signature styles: outsiders existing on the fringe of society, a strange interloper, surrealist symbolism, psychological realism and his silky smooth lyricism that rings with veracity and deep feeling. For all these, however, audiences tend to leave the theatre feeling more mystified than moved. The task then, to mount a successful production becomes much more crucial and is far more satisfying when done well.

Incorporating elements reminiscent of Greek tragedy, the show opens with an eerie tableau of the Conjure Man (Curtis C) cackling as the cast enter wearing masks. Music plays a major role in this production as well led by master guitarist Robert E. Beckwith and his pleasing interludes between acts. Sound design by Efrain Schunior utilizes various instruments to create rain, barking and a soft, ominous din of ambient effects subtly felt throughout. The splintered walls of the general store designed by David Mauer epitomize the cage from which Lady Torrance (Denise Crosby) attempts to break free.

Set in a small Southern town in the 50’s, a stranger clad in a snakeskin jacket with little more than just his guitar enters their midst. Looking for just enough work to sustain his gentle crooning and chord pickin’ licks, Val Xavier (Gale Harold) charms Lady Torrance, a woman of ill repute into hiring him. As her husband, Jabe’s (Geoffrey Wade) terminal condition worsens Val and Lady’s relationship deepens into mutual trust and understanding. Desperate to change the course of their lives, they cling to one another and find solace amid raised eyebrows.

Denise Crosby as Lady personifies grace under pressure with languid fluidity. Mining brilliant moments of strength against Val’s velvet glove persuasions coupled with transparent vulnerability, Crosby is simply a joy to watch transform. From the tired, aged beauty and victim of circumstances to the saucy, confident heroine in the third act, Crosby never tips her hand. With magnificent self-restraint and a quiet, simmering confidence, Crosby owns the stage…simply put—this is her show and she radiates even from the shadows like a single flame.

For his part, Gale Harold is sinfully delicious and his fans should not miss this tenderly wrought portrayal. Much like Crosby, Harold understates his sexuality letting it ooze naturally instead. Like a snake charmer, Harold weaves a magical spell, especially when he sings along with his strumming. By no means a professional vocalist, (the role does not require it) Harold does show creative control over his power and range as his character “finds his voice” literally in each act.

The supporting cast rounds off this terrific show with spot on characterizations and total commitment to their roles. Former cover model Claudia Mason is a perfect fit as the consummate seductress and town inciter of jealous wrath and gossip. A regular chameleon, Francesca Casale expertly plays dual roles as Vee Talbot, an occasionally blinded abstract artist of all things Christian and the prim, steely-hearted Nurse Porter with razor-sharp specificity. The pair of clucking hens representing the Greek chorus, Dolly (Kelly Ebsary) and Beulah (Sheila Shaw) are the kind of old biddies one can find sniping in any small town Piggly Wiggly or beauty salon. Geoffrey Wade delivers a spine-tingling cameo as the mean, cold-hearted Jabe Torrance. While Curtis C may not have much to say in terms of dialogue, his presence captivates and holds the audience with baited breath in the final scene. His laugh is as chilling and musical as “The Mikado” and just as memorable.

So what’s not to like?

For Tennessee Williams initiates, this play may not be so easily digestible, and the sheer length (includes two intermissions) and breadth of this work may have some wriggling in their seats. It is emotionally taxing, so for those who like a superficial story served on a silver platter please excuse yourself from this production. For all others, this is definitely not one to miss and I can only hope it may enjoy an extended run…lord knows we could use it in this town. Hint, hint.

My only quibble, and this is not meant to insult the cozy Theatre/Theater venue, are the seats which are about as comfortable and roomy as sitting in the middle of coach on a transcontinental flight. Take full advantage of the two intermissions: stand, stretch, do some yoga because the play, like most of Williams’ repertoire is long and the emotional scenes draining. To fully appreciate this production, (and Williams in general), it is always best to remain limber in body, mind and soul—otherwise the cathartic effect goes wasted. So word to the wise: stretch yourself.

2010 is off to a great season if this is the kind of fare we can expect this year. Given the enormous and embarrassing wealth of finely trained actors in this town and the familiar faces we’ve come to know in our homes on TV, it’s nice to see them in the flesh so to speak, and there’s nothing more provocative and soul-bearing than a little Tennessee to make them shine.