Review: THE ROSE TATTOO Rare Tennessee Williams Treat

The idea of a comedic play by Tennessee Williams might raise an eyebrow or two. Tennessee Williams? The same playwright who penned dark plays focusing on dysfunctional households as seen in "A Streetcar Named Desire" and "The Glass Menagerie?" That same Williams? Does comedy and Tennessee Williams even go together? They do, and quite well, as seen in the current production of Williams' "THE ROSE TATTOO," the second season opener for The Tennessee Williams Theatre Company.

Directed by Augustin J. Correro, this 1950s play is brought to life with a cast that truly captures a world of warmth, humor, and heart that was bred out of sorrow. This play is full of humor and (even a happy ending), which is a confusing thing to think about when considering the lore and myth of Williams' more well-known works. However, this play was written during a time of happiness for Williams and is dedicated to his lover Frank Merlo. "THE ROSE TATTOO" is a rare American classic, which turns into a wonderful treat when performed and performed well.

The plot centers on Serafina delle Rose, a proud Sicilian woman living in the Gulf Coast who loses her lust for life upon the premature death of her husband. For three years she mourns his passing, looking for some sign by the Virgin Mary that will allow her to move on in her life again. Her reverie is finally awoken, both spiritually and sexually, by the arrival of the clown-faced buffoon, Alvaro Mangiacavallo. He may have a clownish face, but his body and his rose tattoo resemble her late husband's. Close enough, right? This meeting reawakens Serafina's heart and passion for life, especially since learning that her deceased husband, whose ashes are next to the Virgin Mary, had been unfaithful to her. Williams creates a great character in Serafina, which many actresses would chomp at the bit to have in their repertoire. However, it takes a strong actress to convey the array of Serafina's emotions, which are evident in Lillian J. Small's portrayal. Small is blessed with sharp timing, physical grace, and her words are clear while employing a thick Sicilian accent.

What Small captures brilliantly though are Serafina's contradictions. This is a hot-blooded woman who rejoices in the memory of her husband, whom she made love to every night while still keeping the propriety of the Sicilian immigrant. She devoutly worships the Virgin Mary, angrily rejects the dirty talk of loose women, and ensures the secret is kept from her neighbors when she beds Alvaro. After a slow start, the show picks up when Serafina learns of the death of her husband, which is a moment of tragic beauty. One of the strongest assets of the Tennessee Williams Theatre Company is their ability to capture imagery that will stay with you long after the ride home from the theater. There is another such moment, but to describe it would not do it justice. You'll have to see it for yourself.

Supporting Small is Linnea Gregg as Serafina's daughter, who wishes to further her relationship with the shy sailor Jack played by Matthew Raetz. Her pursuit of her passions is at odds with Serafina's older traditions to the point she forces Jack to his knees to pledge to the Virgin Mary statue that her daughter will remain "respected" even though he is the one sailor who would take care with her chastity. Their love story is well-performed with tender heartache, echoing the realism in Williams' writing.

The mother and daughter are supported by an excellent group of actresses. Mary Pauley as Assunta, Serafina's faithful friend with the wisdom of a medicine woman; Destani Smith as Estelle Hohengarten, the other woman who is the lover of Serafina's husband; Lin Gathright as the Strega who is a more comic than menacing witch, and Erin Cessna as the goat who will steal a scene right from under her cast mates feet with her charming humor.

The male lead Mike Spara is funny and charming as the clumsy and hapless young truck driver Alvaro Mangiacavallo. Watching him woo Serafina in spite of having nothing to offer her really except "three dependents" is a sheer delight. America loves rooting for the underdog, and we have a great one in Spara's character with his awkward attempts at seduction. Rounding out the remaining male leads is Michael Sullivan as the priest who tries to tolerate Serafina's behavior while still preaching the word of God to her in hopes she will return to being a proper Catholic woman.

The scale and feel of the performance space are up close and intimate. While housed in the Samuel DuBois Cook theater at Dillard University, the company makes no use of the seating in the auditorium. Audience members are seated right up front in the thick of the stage, giving a more personal feel to the cluttered nature of Serafina's workroom, the countless children, and busybody neighbors. The amount of action that happens on stage can at times be frantic to the point of chaotic due to the closeness. This causes an issue for sightlines, but it also adds a deeper element as the audience becomes an extension of the neighbors trying to catch a peek of the action.

The design of the show is a treat on all fronts. The set, designed by Jerry Johnson represents the nature of Serafina's heart in a wall made of shutters waiting for the right moment to open up. The surrounding scenery is complemented by Nick Shackleford's sound design. The lure of cicadas and birds chirping are an excellent touch during the preshow and intermission. Completing the world of the show are lighting designs by Missy Martinez and colorful costume designs by Honey Tangerine. Each element is a satisfying component to this rarely seen of Williams' works. Be sure to get a ticket if you can!

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