Even a cursory knowledge of Tennessee Williams’ women raises expectations of this rarely performed play, which has no fewer than four female characters. A group of middle-aged singletons gather in cheap accommodation on a hot afternoon in St Louis, so you can imagine how the writer of Blanche DuBois and Maggie the Cat might go to town on them. But the most intriguing thing here is Williams’ restraint.
Bodey is a mother hen, portrayed brilliantly by Debbie Chazen, who makes the character easy to root for as she clucks over her roommate Dorothea (Laura Rogers), who has fallen for her no-good boss. They are joined by their depressed neighbour, a difficult role, mostly in German, that Julia Watson does well with. And paying an urgent visit is Dorothea’s colleague Helena, a “well dressed snake” and snob, seeing “absolute desolation” in the homely apartment. If the waspish lines, delivered impeccably by Hermione Gulliford, please the crowd, there’s also a touching monologue about her loneliness. True, these women have agendas. But they aren’t all devious or downright delusional (a common Williams trait), with hopes, dreams and a self-awareness that are entirely down to earth.
The production appreciates what might even be called a prosaic streak. Director Michael Oakley has crafted a tight domestic drama, with grandeur coming from Fotini Dimou’s impressive set and the appropriate shabby-chicness of the venue itself. Dorothea comes closest to a standard Williams heroine: we are warned she has a “Southern Belle complex”. Whether Rogers’ performance is wary enough of this is debatable. The play’s anticlimactic revelations and speculation on “the long run” (the future obsesses these women) may seem like small beans from a writer who usually dealt with higher stakes, but this play has a quiet appeal all its own.
Until 7 October 2016
Photos by Catherine Ashmore