Review: KINGDOM OF EARTH at Tennessee Williams Threatre Company

When the Tennessee Williams Theatre Company burst onto the Nola theatre scene in 2015, it sparked excitement and swiftly established itself as a leading authority on the works of the Bard of the South.

Eight seasons later, TWTC is revisiting its roots with a revival of Williams' KINGDOM OF EARTH, the play that marked the company's debut. Back then, their inaugural production was a risk, opting for an unconventional piece from among a canon of classic works that includes A STREETCAR NAMED DESIRE and CAT ON A HOT TIN ROOF.

It was a bold move back then that paid off and continues to pay off with the 2024 revival.

Set against the backdrop of a flood-threatened Mississippi Delta farmhouse, KINGDOM OF EARTH delves deep into the hearts and minds of its characters, unraveling the layers of their desire and desperation. At the center is a struggle for power between half-brothers Lot and Chicken over the ownership of their ancestral home, which is currently threatened to be enveloped by flood waters.

Lot has returned home to claim his inheritance, and in tow with him is his wife Myrtle, a force to be reckoned with herself – bound and determined to carve out her destiny (and survival), even if it means betraying her husband with his half-brother. Chicken, for his part, is ever-present, his motives shrouded in ambiguity, driven by a primal instinct for survival. As the floodwaters rise and tensions reach a boiling point, the stage is set for a gripping battle of wills, with each character fighting desperately to assert dominance and stake their claim to the "kingdom of earth."

Directed by Co-Artistic Director Augustin J. Correro, KINGDOM OF EARTH pulsates with sensual energy, linguistic dynamism and a comic desperation that mesmerizes audiences. This narrative delves into the complexities of human nature, revealing characters who embody humanity's flawed aspects with compelling intensity. Williams paints a vivid portrait of these characters, imbuing them with a complexity and depth that is both mesmerizing and unsettling. His mastery of language is fully displayed in KINGDOM OF EARTH, with each line of dialogue dripping with poetic lyricism and profound insight.

Correro, intimately acquainted with this world, having helmed its inaugural production in 2015, brings a fresh perspective to the play, elevating it to unprecedented heights and showcasing his deep understanding and mastery of its nuances.

Initially panned on Broadway, KINGDOM OF EARTH delves into themes of haunting loss and imminent demise, weaving together biblical allusions, Southern Gothic romanticism and earthy charm. Williams populates the narrative with characters familiar from his other works—lonely, troubled souls who conceal their inner turmoil from others and themselves.

In the role of Lot's mixed-race half-brother, Chicken, Edward Carter Simon commands the stage with a captivating intensity. While he may lack the refined manners of the Southern genteel, his portrayal brims with vitality and raw sexuality. Carter Simon embodies a potent mix of physical threat and psychological depth, evoking sympathy even amidst the play's darkest moments. His portrayal resonates with the weight of a lifetime marked by abuse, racism and a sense of inferiority.

Ben Dougherty's rendition of Lot offers a refreshing departure seen in most of Williams's dandies. Afflicted by tuberculosis and crippled by insecurities, he is determined to undermine Chicken by denying him rightful ownership of the property by passing it on to Myrtle. His presence echoes the decay of the old Southern way of life, a recurring motif in Williams's narratives. Despite his ailing health, Lot exerts dominance over Myrtle and Chicken, employing calculated manipulation and coercion to assert authority. Dougherty's performance captivates, particularly when he delivers lines while gazing into a backless vanity mirror.

At the center of it all is Rebecca Elizabeth Hollingsworth as Myrtle, who cannot help but steal the show with her infectious optimism. Caught in the crossfire of Lot and Chicken's power struggle, Myrtle grapples with her own sense of identity and agency. However, despite her initial naivety, she reveals resilience and inner strength as she confronts the challenges thrust upon her.

Her passions may not be immediately known in Act I, but being the wife of a dying man with a mother complex can only take you so far. The tension between her and Chicken is so thick that you can cut it up and serve it with fried potatoes. Each glance, touch and sexual nuance impacts the tension and chemistry between the two.

Production designs for KINGDOM OF EARTH were exceptionally well done. Mina Perkins's set used the space in the Marquette Theatre effectively with pleasing use of levels and sectors for each portion of the farmhouse. TWTC staples Diane K. Baas and Nick Shackleford enhance the productions each time they design for light and sound. The use of moody light and ominous rain was s constant reminder of the conflict of nature looming ever closer. Pulling double duty was Hollingsworth as the production costume designer who captured her character's vivacious personality.

For those who witnessed the inaugural production, revisiting KINGDOM OF EARTH is a must. The 2024 revival breathes new life into this seldom-produced work, showcasing what great local theatre can achieve.

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