An Imagined Meeting of the Minds

The Gentleman Caller – Raven Theatre

 

Cody Estle, the newly appointed Artistic Director of Raven Theatre, begins his tenure by directing the first play this theatre company has commissioned during its 35 year history. Mr. Estle, who’s recent directorial achievements include the highly acclaimed “Five Mile Lake” at Shattered Globe, is no stranger to the works of Tennessee Williams. He beautifully directed the playwright’s autobiographical “Vieux Carre” for Raven just a few seasons ago. This new play by Jeff Award-winning Chicago playwright Philip Dawkins (“Charm” at Northlight; “Le Switch” at About Face) is another must-see production, especially for fans of how theatrical art is created and the reviewers who make or break new plays.

In this imagined meeting, Tennessee Williams has accepted William Inge’s invitation for an interview, then an arts critic for a St. Louis newspaper. Williams arrives at Inge’s modest apartment and finds the man to be about his age and a tightly closeted, ultra-conservative Midwesterner. Inge is intrigued by this new, up-and-coming American playwright for several reasons. Although he condemns the playwright for his bold, brash persona, he secretly envies Williams’ liberal attitude and sexual openness. Inge is instantly attracted to Williams and the feeling is mutual. In addition, Inge confesses his dream of quitting his job as a reviewer of other writers’ works and becoming a successful playwright, himself. In many areas of his life, in fact, Inge would love to stop being a mere watcher and become an actual doer. 

Tom Williams, who was nicknamed Tennessee by his fraternity brothers, because of his thick, southern drawl, offers Billy Boy, as he affectionately calls Inge, a lot of advice. When he first meets with Inge, Williams is putting the finishing touches on his latest play, “The Glass Menagerie,” which he currently calls “The Gentleman Caller.” The playwright is preparing his memory play for a New Year’s Eve pre-Broadway launch in Chicago, and he invites Inge to attend the press opening, as his guest. Ironically, that working title also applies to Williams himself, as he pays a visit to Inge for the interview. In the second act, the tables are turned and the Gentleman Caller becomes William Inge, as he travels to the playwright’s Chicago hotel room.

Dawkins’ new play is smart, sexy, romantic and often very poignant. Surprisingly, the playwright has also infused his script with a great deal of humor, most of which is courtesy of Tennessee Williams. He opens each act with a monologue, delivered by Williams, that sets the upcoming scenes as the playwright’s recollection of each evening. Mr. Estle stages these moments realistically, choosing to have Williams break the fourth wall, appearing in the audience and leaning against the proscenium, sharing his thoughts and observations as a memory. Throughout the next two hours, the manner in which art is shaped and eventually evolves, as well as the perceived role of the critic in this process, are discussed and debated. In between, a cat and mouse flirtation continues between the two men that will forever change them. Tennessee Williams will achieve his first critical success with “The Glass Menagerie,” and go on to write such classics as “A Streetcar Named Desire,” “Cat on a Hot Tin Roof,” “Summer and Smoke” and “Suddenly, Last Sumer,” which will be Raven Theatre’s next production. William Inge, thanks to Williams’ encouragement, soon embarks on a road that will eventually produce such dramatic classics as “Come Back, Little Sheba,” “Picnic,” “Bus Stop” and “The Dark at the Top of the Stairs.”

Rudy Galvan is simply magical as Tennessee Williams. This charismatic young actor, who was seen at Raven Theatre in Williams’ “Not About Nightingales,” is fantastic. He appears comfortable and relaxed, driving this production as the playwright who immediately finds himself attracted to Inge. Eventually Williams provides the wisdom of his years of professional experience to his protege, but not before he attempts to make this meeting a night to remember. The alcohol flows freely as Inge loosens up and almost gives in to his natural inclinations. Galvan is hilarious, especially playing a dog bite for all its worth. His dry, off-the-cuff sense of humor peppers this drama with self-deprecating comedy, yet he brings to the surface the character’s deep-seated self-loathing, a quality that both he and Inge share.

As William Inge, boyishly handsome Curtis Edward Jackson is terrific. While Galvan seems to drive the first act of this play, it’s Mr. Jackson who controls the reins of Act II. Leaving his mark in such Chicago productions as Victory Gardens’ “Hand to God” and Steep Theatre’s “Brilliant Adventures,” Jackson once again creates a character who authentically speaks to audiences. With hands tightly clenched, and speaking with tightlipped safeguard, Mr. Jackson is a portrait of conservative, middle America in the 1940’s. He’s aided in his portrayal by Melissa Ng’s costumes. Her carefully chosen tailored, three-piece suits provide the perfect uptight look, just as Galvan’s Tennessee Williams appears more relaxed languishing in his underwear, a bath towel and a flapping, silk bathrobe.

Staged within Jeffrey D. Kmiec’s beautifully detailed, yet versatile scenic design, with period props and elaborate set dressing furnished by Claire Stone, nicely lit by Michelle E. Benda and featuring an authentic sound design by Kevin O’Donnell, Cody Estle’s world premiere of Philip Dawkins’ new biographical drama should not be missed. It’s that good. The outstanding portrayals of Williams and Inge, two incredibly gifted American playwrights, by a pair of incredibly introspective Chicago actors, is breathtaking and heartbreaking. Dawkins’ fictional account of their imagined meeting of the minds, along with all the sexual and artistic implications of their alcohol-fueled evenings together, feel honest and possible. The colored light illumination, provided by Tennessee Williams’ memory and imagination, are all that stand between reality and fiction.          

Highly Recommended

Reviewed by Colin Douglas

 

Presented March 28-May 27 by Raven Theatre, in their intimate West Stage, 6157 N. Clark St., Chicago.

Tickets are available at the box office, by calling 773-338-2177 or by going to www.raventheatre.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.