Theater review: 'Orpheus Descending' at Theatre/Theater

The matchless dramatic poetry of Tennessee Williams elevates "Orpheus Descending," which gets its sprawling due at Theatre/Theater. This dark 1957 riff on the Orpheus myth receives a spare, evocative rendition by documentary filmmaker Lou Pepe, his capable company brilliantly spearheaded by Gale Harold and Denise Crosby as the tragic central pair.
 
Although Harold Clurman's Broadway staging -- revised by Williams from his 1940 "Battle of Angels" -- failed, "Orpheus" is pivotal in the canon. Problematic yet arresting, this saga of a charismatic, guitar-wielding drifter who enters the small-town Hades of an unhappily married, Sicilian-descended storekeeper hovers directly between the playwright's triumphs and misfires.
 
Debuting stage director Pepe eschews literalism on designer David Mauer's skeletal set. After a masked ritual by Curtis C's Conjure Man sets the archetypal tone, a faux Greek chorus of town gossips (Kelly Ebsary and Sheila Shaw) drolly launches the expository stakes.
 
In the company of degraded aristocrat Carol Cutrere (the wonderful Claudia Mason), we enter vintage Williams territory, made all the more atmospheric by Brandon Baruch's superb lighting and cast member Robert E. Beckwith's blues-guitar accompaniment.
 
And when Harold appears as snakeskin-jacketed Val Xavier, followed by Crosby's rigid Lady Torrance, "Orpheus" descends into riveting realms entirely its own. The estimable ensemble, many playing multiple roles, includes ever-reliable Francesca Casale as the sheriff's visionary wife and Geoffrey Wade as Lady's dying, tyrannical husband. Still, all revolves around the Orpheus and Eurydice. Harold, ideally cast, beautifully ignites with Crosby, whose unconventional interpretation is an affecting revelation.
 
The three-act length may tax modern tastes, although Pepe's pace hardly drags, and the racism and Southern gothic violence remain overt. "We're all sentenced to solitary confinement for life" is Williams' keynote here. It drives this resourceful revival.

-- David C. Nichols
 
"Orpheus Descending," Theatre/Theater, 5041 W. Pico Blvd., L.A. $25. 8 p.m. Thursdays through Saturdays, 2 p.m. Sundays. Ends Feb. 21. $25. (800) 838-3006 or www.brownpapertickets.com/event/92508. Running time: 2 hours, 50 minutes.

Comments

[ducdebrabant]

Bravo to director Lou Pepe (what a debut!), the committed cast, the brilliant designer, and finally to the Times's perspicacious critic. The sole other review I have seen of this production, which opened several days ago, was likewise an unqualified rave. Glad the L.A. Times at last joined in the huzzahs.

Frankly, I feared this diamond, in the most intimate of playhouses, might be -- like that gem of purest ray serene -- born to blush unseen. It MUST be seen. Pilgrimages should be made to it.

Valentine Xavier is simply the perfect part for Gale Harold, and he the perfect actor for it. "Orpheus Descending" has failed with Cliff Robertson, failed with Marlon Brando. The qualities it requires are seldom available in one package.

With Harold and his colleagues, this play has triumphed. And make no mistake: it is not to be missed. Williams must be looking down in tears from the heavenly grass.

[Sage]

I whole-heartedly agree with this review. The pacing of the play is just right. The two leads, Crosby and Harold, had great chemistry. The best moments took place between the two of them. You wonder if actors known mainly for TV will translate their skill on camera to the stage, and these 2 certainly deliver. Especially competent in the Southern accent, Harold draws you in and holds your attention almost to distraction. He underplays his trademark sexuality, reigns it in, which fits the character's motives and background. The theater size is perfect. The intimate nature of the venue brings out the tension inherent in the play. I HIGHLY recommend seeing this. You get so much more than you pay for.

[Liam]

I was lucky enough to be in LA for opening night and was seated in the second row. While I was not as familiar with Tennessee Williams’ plays as much as I was the actors including Harold, I was absolutely blown away by everything (the set, the acting, and the 99-person theater). Harold is every bit the leading man – you can’t help but center your attention on him when he is on set. His vocal performances and guitar playing was a pleasant surprise and he can certainly hold his own. Crosby is the perfect female lead to balance out the strength of Harold. I was slightly less impressed with Mason (I personally just found her accent a little forced) but she was still strong in her role. The supporting cast was especially good throughout the entire performance, with many people playing more than one character. The show is three acts and totals three hours which is a ton of content to memorize.

For the small price of $25 you DEFINITELY get your money worth. I say run don’t walk!

[ducdebrabant]

I'm sorry the Times wasn't able to print a picture.

[feecamille]

I live for theater, I love T. Wiiliams and I admire what I heard about this dramaturgy.
Hope so much they come in France, even more in Marvejols, but I know it 's no more real than I had the money to come and see through my skin and eyes in live indeed !
If someone read this and can do something to change that way, tell me : I 'll help you till the end...

feecamille@voila.fr
french actress on stage, writer, educator