L to R: Dave Metz, Jacque Lynn Colton, Tony Gatto.
There's a whole lot of acting going on in The Elephant Theatre production of Baby Doll. With accents so thick you can cut them with a knife, the ensemble at The Lillian takes its work very seriously. They combine Williams’s pithy one act, 27 Wagon Loads of Cotton and Elia Kazan’s award winning film Baby Doll, blending them into an acting exercise. It looks as though the cast is having a good time. The work is consistent, with dancing cotton pickers and cotton pickin' dancers, all painted in broad strokes. It takes almost two hours to unfold.
This is not to say it's a bad show. It is, after all, Tennessee Williams, but these folks are not the iconic characters whom we remember from Streetcar or The Glass Menagerie. Instead we are given, perhaps, Blanche DuBois as a child… in Blanche’s imagination and Stanley Kowalski long gone to seed and nefarious deeds in The Deep South: Tiger Tail, Mississippi.
Archie Lee Meighan (powerful Tony Gatto) rants from the git go in sweaty anticipation of consummating his marriage to sweet cheeks and lovely Baby Doll: Lulu Brud. Brud, is a near personification of Carol Baker in the title role of Kazan’s film. Baby Doll’s twentieth birthday is imminent and she’s promised to give it up to Archie Lee the day she actually turns twenty.
At rise we meet the wonderful Jacque Lynn Colton as Aunt Rose Comfort whose hearing is failing. Just why she puts up with so much crap from Archie Lee is a mystery. She feeds the chickens. She cleans and cooks for Archie and Baby Doll while living in the virtually empty haunted house, evidently unpaid.
Enter another accent from Sicilian Silva Vacarro (sinewy, man in black, Ronnie Marmo) who suspects Archie Lee as the arsonist who has burned his cotton gin to the ground. Vacarro’s gin has basically put Archie’s gin out of business and because Silva is a foreigner, he is held in contempt by the locals. The sensuality of other Williams’s characters is evident, but more as two dimensional cut outs rather than the complicated icons in Williams’s plays.
The up side is that director/set designer Joel Daavid has created a beautifully utilitarian multifunctional set, including a floating ceiling where “run away - come hither” Baby Doll escapes from Vacarro even though she can’t play hide and seek because she is “not athletic.” Well executed lights by Daavid and Matt Richter’s sound, with the assistance of the director’s dedicated ensemble, almost become an additional character in the play.
Briefly, a live fiddle appears and accentuates the show, but recorded guitar score by Nick Block almost overwhelms. The music could have been even more effective with a live guitarist on stage.
Baby Doll by Tennessee Williams
An Elephant Theatre Production
1076 Lillian Way
Hollywood, CA 90038
Tickets and Information:
323 960 4420
Friday and Saturday at 8PM
Sunday at 7PM