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Posts Tagged ‘john guare’

You Lied to Me About Centralia
by John Guare
Directed by Rayme Cornell
Tennessee Williams Festival St. Louis
August 22, 2021

In the same weekend that the Tennessee Williams Festival has premiered it’s excellent, site-focused outdoor production of The Glass Menagerie, they’ve also staged a much shorter companion piece featuring one of the characters featured in Williams’s classic play. You Lied to Me About Centralia is a short play–running about 20 minutes–and the tone is much more wryly comic than the headlining show–but celebrated playwright John Guare’s examination of these characters and their situation adds much to think about concerning Williams’s work as well as the ways individuals allow themselves to be influenced by others.

Guare’s one-act is based more directly on Williams’s short story “Portrait of a Girl in Glass”, which was a predecessor of The Glass Menagerie. Still, the story is similar enough, and the character of Jim O’Connor (Chauncy Thomas) is essentially the same, especially at TWFSTL considering that he’s played by the same actor in both productions. Thomas is joined here by Julia Crump as Jim’s fiancee, Betty, who was mentioned by name but does not appear in The Glass Menagerie. In that play, Jim mentioned that he had to pick Betty up at the train depot after her trip to visit a sick aunt in Centralia. This play–which gets its title from its first line of dialogue–imagines that meeting, and Guare’s depiction of events suggests aspects of Jim’s character–and especially Betty’s–that Williams hadn’t portrayed. 

Here. Betty hadn’t been visiting an ailing aunt–she’d been to see a rich uncle in Granite City instead, with the idea of trying to get “Uncle Clyde” to give her money to buy a house. Jim is initially upset by the deception, but his affable personality allows him to gloss it over, although we also get to see how Betty’s influence–and that of their more “socially acceptable” friends–affects how Jim tells the story of his dinner date with the Wingfields. Betty’s own prejudices also surface when we hear her account of finally meeting her uncle, who had given a different impression of himself in his letters; and her comparisons of her uncle to Tom Wingfield reveal aspects of her character that lie beneath her well put-together, seemingly bubbly surface. The relationship dynamics here are fascinating to watch, and although the tone is largely comic, there’s a tragic aspect here, as we see how Jim responds to her teasing by telling her what she wants to hear. The play serves as not only a character study, but as an examination of social norms at the time, and of the concept of socially enforced conformity. 

The performances are strong, with Thomas getting to show a different side to this character he has already played in a different context, and Crump displaying a strong sense of presence and influence. Both performers work well together, displaying good comic timing and chemistry. The staging is simple and also excellent, as the action plays out on a minimal set (just a bench) on the same stage as The Glass Menagerie, which serves as an intriguing echo since we are now getting to see another look at one of that play’s memorable characters. It’s another memorable moment from the still relatively new, but always excellent, Tennessee Williams Festival St. Louis. 

 

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Sweet Smell of Success
Music by Marvin Hamlisch, Lyrics by Craig Carnelia
Book by John Guare
Directed by Scott Miller and Mike Dowdy-Windsor
New Line Theatre
June 3, 2017

Ann Hier, Zachary Allen Farmer, Matt Pentecost
Photo by Jill Ritter Lindberg
New Line Theatre

It’s a somewhat obscure musical that had a short run on Broadway, won a few awards and received a mixed critical reception, and it’s based on a movie that’s well-regarded by critics but isn’t exactly a household name. I hadn’t seen the film before seeing New Line’s newest production of Sweet Smell of Success, although I had heard of the film and the musical. Oddly, I don’t think familiarity with the source material matters much in terms of enjoying this show, even though its subject matter revolves heavily around the concept of success, notoriety, and the sheer level of power that can come from being a household name. This is the kind of show that New Line does especially well–a show that might have been too “small” in a sense for Broadway. It’s the kind of show where an intimate presentation in a venue like New Line’s Marcelle Theatre can be ideal, to scale this story down to its most important elements–the characters, the raw emotions, and the key concepts at play in this seedy, sultry, and sometimes downright scary morality tale that focuses on the down side of the quest for fame.

The story takes the audience to New York City in the 1950’s, to a world in which gossip columnist J. J. Hunsecker (Zachary Allen Farmer) exerts his influence through his nationally syndicated and widely read newspaper column. As the ensemble asserts in the opening number, making it into “The Column” is essential for achieving that elusive measure of success for the small nightclubs that host celebrity sightings, the up-and-coming actors and musicians who are looking for their big breaks, and even the press agents who work tirelessly to get their clients mentioned by J.J. One of these press agents is Sidney (Matt Pentecost), who makes call after unheeded call to J. J.’s secretary Madge (Kimi Short) in hopes of getting his only client, the small but ambitious Club Voodoo, a mention. Sidney’s luck doesn’t improve until a chance meeting at the club with an aspiring young actress who turns out to be J.J.’s sister, Susan (Ann Hier), who is indulging in a secret romantic relationship with struggling jazz musician Dallas (Sean Michael). When J. J. himself walks into the club looking for Susan, Sydney tries to help her by pretending to be her friend, and ends up getting J.J.’s notice, which begins Sidney’s ¬†ascent up the ladder to success, at the increasing expense of his own scruples. As J.J.’s true character is revealed, along with his creepy obsession with and sense of control over Susan, Sidney is caught between his desire for celebrity and influence under J.J.’s tutelage and his genuine fondness for Susan and desire to help her. The problem Sidney finds is essentially, how does a person hold onto his own soul after he sells it in the name of success? The consequences turn out to be messy for some, and tragic for others.

The setting and overall atmosphere of this production is masterfully achieved by virtue of strong production values and an ideal setting. As excellent as New Line’s shows have been since moving to the Marcelle, I think this production has been most successful at making the most of this venue. ¬†The small, intimate atmosphere and the meticulously crafted set by Rob Lippert create the ideal mood for this jazzy, dark, and challenging piece of theatre. Lippert’s excellent lighting also contributes to the Noir-ish atmosphere, as do Sarah Porter’s stylish and detailed period costumes. The pacing is strong here, as well, with the mood being tense when it needs to be, and even downright brutal and bleak when necessary as well. There are also some much-needed moments of humor in the midst of the tension, though, and these are also handled well by way of Scott Miller and Mike Dowdy-Windsor’s astute direction and the extremely strong cast that the directors have assembled, as well as the excellent band led by music director Jeffrey Richard Carter, bringing the show’s jazz-influenced score to life with a bold attitude and style.

The focus of much of this play is on the figures of J.J. and Sidney, and both parts are cast well with veteran New Liners. Farmer brings a sense of self-assured determination and a steely resolve to the role of the domineering J.J., as well as a wry sense of humor and a strong voice. His status as the influential power player is unquestioned. Pentecost brings a sense of weary charm to Sidney that makes the viewer want to sympathize with him to a point. His scenes with Farmer and with Hier are particularly memorable. Hier, in the difficult role of the conflicted, dominated Susan, shines as well, bringing a quiet strength to the role that makes itself more clear as the show goes on. Michael, as Susan’s principled secret boyfriend Dallas, is also excellent, displaying a strong tenor voice on “I Cannot Hear the City” and “One Track Mind”. His chemistry with Hier is credible, as well. There’s also a standout performance from New Line veteran Sarah Porter, making an impression is the small but important role of Sidney’s girlfriend, waitress and aspiring actress Rita, who gets the show’s single best solo musical moment with “Rita’s Tune”. Kent Coffel as corrupt police Lt. Kello, Jason Blackburn as rival gossip columnist Otis Elwell, and Short as J.J.’s no-nonsense secretary Madge lend excellent support as well, as does the show’s cohesive ensemble, playing a range of New Yorkers and contributing to memorable musical numbers like the intro and the energetic, sharp and chilling “Dirt”.

This is a challenging, incisive story with an incisive message, richly drawn characters, and even more richly drawn settings. It’s an homage to Film Noir, tied to its time in one way, but surprisingly timeless in another, since the modes of communication and the names may change over the years, but human nature hasn’t changed, and neither have the temptations that come with the thirst for knowledge, influence, and especially power and control. Sweet Smell of Success isn’t always sweet, but at New Line and with this cast and creative team, it’s certainly a success.

Cast of Sweet Smell of Success
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Sweet Smell of Success at the Marcelle Theatre until June 24, 2017.

 

 

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