Review: Desert Rose Presents a Not-to-be-Missed Production of Tennessee Williams' SUDDENLY LAST SUMMER

Desert Rose Playhouse has evolved from a niche community theatre targeted towards LGBTQIA individuals into a regional company capable of presenting complex plays. Its current production of Tennessee Williams' SUDDENLY LAST SUMMER is a must-see for all audiences.

The name "Tennessee Williams" evokes images of dysfunctional Southern families. A STREETCAR NAMED DESIRE, CAT ON A HOT TIN ROOF, and THE GLASS MENAGERIE, which, in my opinion, are his best-known plays, all fit that mold. SUDDENLY LAS SUMMER goes even further - the matriarch is so sick and so evil that the script crosses from psychological character study into Gothic horror. Fans of Daphne duMaurier's REBECCA will notice much that seems familiar.

The story, which takes place in 1936, revolves around Violet Venable (Marjory Lewis), the bereaved mother of Sebastian, a single man who died in Spain under mysterious circumstances. This was the first trip Sebastian has taken in 25 years without his mother as his sole companion; Violet focuses all her grief and fury on her niece, Catherine (Cat Lyn Day), Sebastian's traveling companion for the fatal trip. Catherine has been confined in a mental institution ever since Sebastian's death and Violet accuses her of murdering her son. She also blames Catherine (not the stroke Violet suffered) for Sebastian's leaving her behind. Violet tells her version of Sebastian's life story to Dr. Sugar (Cody Frank), whom she says she is considering as the first recipient of a donation in her son's memory. As the play moves forward, it becomes clear that Dr. Sugar is experimenting with lobotomies, and Violet wants to bribe him into lobotomizing her niece so Catherine stops "lying" about Sebastian and how he died.

Before the first characters walk on stage, the audience gets a feel for the New Orleans atmosphere, courtesy of the beautifully designed garden set (by Allan Jensen) and its lush plants. When Dr. Sugar and Violet Venable walk out in a period white suit and straw hat, and a period lavender dress, respectively (also designed by Allan Jensen), we get a feel for the era and for the characters' socioeconomic circumstances. Miguel Arballo's sound design and Phil Murphy's lighting also help turn the stage into an additional character; when Catherine describes the blazing sun that turned everything white, a white spotlight beats down on her, and the other characters are in shadow. At that moment, I sensed the blinding daylight and the heat during the time Sebastian died.

Under Jim Strait's fine direction, the actors all interpret their characters brilliantly, down to their facial expressions, dialects, and hand motions. Marjory Lewis is a very nice lady in real life, but her Violet Venable both horrified and sickened me; Ms. Lewis perfectly portrays a mother whose love for her son crosses every line, except, possibly one. Catherine at first seems like she could be an opportunist, but the charismatic Cat Lyn Day slowly reveals her character's decency; Ms. Day is mesmerizing as Catherine describes how Sebastian died. Dr. Sugar should shock our modern sensibilities, but Cody Frank plays him as an honorable man who wants to do the right thing and who, on some level, sees through Violet Venable. Lorraine Williamson and Winston Gieseke, who play Catherine's mother and brother, portray their characters as ordinary, desperate people trying to claim the inheritance that Sebastian's will provided, but who understand that Violet can hold up the distribution if Catherine keeps repeating her story. Alden West, as the nun who takes care of Catherine, and Leslie Benjamin, as Violet's terrified assistant, perform their supporting roles with energy and believability.

While this production is a "must see," it is not for the squeamish, because there are vivid descriptions of the death of baby sea turtles and of cannibalism. Everyone else should attend this Desert Rose play.

The others involved in this production are Steve Fisher (stage manager), Paul Taylor (producer), Tim Cagney and Michael Pacas (executive producers), and Ed Monie (producing partner).

SUDDENLY LAST SUMMER will run through April 1, 2018. Tickets can be ordered online at www.desertroseplayhouse.org or by calling the box office at 760-202-3000. There is no service charge for Internet or phone orders. Performances are at 8 PM Friday and Saturday evenings and at 2 PM Sundays. Tickets are $37 for evening performances and $34 for matinees. Prices include a $2 per ticket facility fee, which will go towards refurbishing the theater, including purchasing new seats.

The Desert Rose Playhouse is located just north of Frank Sinatra Boulevard, near the Emperor Buffet, at 69-620 Highway 111, Rancho Mirage, CA 92270. The Box Office opens at 4 p.m. before evening performances and at noon on Sundays.

Desert Rose supports the local community, such as by having donated $84,000 worth of tickets to the Desert AIDS project. As a not-for-profit public benefit corporation, Desert Rose is required to raise a third of its annual budget from public support, as opposed to ticket sales. Donations are very welcome. Please mail checks to Desert Rose Productions, Inc., P.O. Box 2256, Cathedral City, CA 92235. To submit donations through Paypal, click the link located on the Desert Rose Web site at www.desertroseplayhouse.org/Pages/Sponsorship.aspx.

Desert Rose will present its mixed plate annual fund raiser on Sunday, April 8, 2018, at 6 p.m. The show's title is "Mis-Cast Cabaret," consisting of musical performances by people who could never be cast in the actual role. Ticket information will be available soon.

Desert Rose's 2017-18 season concludes with DARE, by Allan Baker, April 20 - May 13, 2018.
The world premiere of an award-winning play by a fresh, literate and engaging Texas playwright, DARE is the story of an elderly gay man whose desire to die on his own terms sparks an impassioned challenge from his younger gay doctor. As funny as it is intimate, DARE is a touching reminder that the lessons of history must be part of any struggle for a better and more accepting world.

the company's summer production is Tom Eyen's "immortal and immoral comedy" WOMEN BEHIND BARS, from June 15-July 29, 2018. Ticket information will be available soon.

Photo Credit: Mike Thomas

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