Tuesday, February 8, 2011

Theater Review: The Milk Train Doesn’t Stop Here Anymore

Too Bad a Great Play Doesn’t Stop Here Either
By Lauren Yarger
Any play starring Olympia Dukakis and directed by Michael Wilson is worth seeing, but does Roundabout Theatre Company’s Off-Broadway production have to be The Milk Train Doesn’t Stop Here Anymore?

Milk Train, one of Tennessee Williams’ later, and not so great works, does beg the question asked so often these past few seasons: with all the talent on and off stage, why are producers choosing such weak material? Dukakis, and Wilson, who has reams of Williams under his belt (he is the artistic director at Harford Stage where he has staged Milk Train and previously worked with most of the actors and creatives in this current production), could have been teamed with one of Williams’ better works -- or anyone else’s better work -- and given us a truly wonderful night at the theater.

Instead, we’re left instead, to journey to 1962 for the final days of Flora Goforth (Dukakis), in denial about her health and impending death (it’s just neuralgia, she coughs), and pressured by publishing deadlines to dictate “Facts and a Figure, “ a memoir about her life and her four husbands. Taking the almost 24/7 dictation, in person, off of tape recordings and over an intercom system (Flora can’t sleep because of the pain) is assistant Francis Black (Maggie Lacey, whose lines Wilson surprisingly allows to be too loud and awkward). She is known as Blackie, partially because it’s an easy nickname and partially, one must presume, because she’s so depressing. Forced to take the assistant’s position after the death of her husband, Blackie hates her job and wants out, but for some unknown reason, never packs her bags.

Instead, she becomes a go-between for Flora and an unexpected guest at the Italian Villa (created by designer Jeff Cowie with Flora’s bedroom looking like a sort of modern cave, with tons of skylights reflecting somber tones in the room while giving a glimpse of brighter days outside; lighting by Rui Rita). The visitor is Christopher Flanders (a capable Darren Pettie), a sort of end-of-the-line gigolo who shows up on the doorstep of old dying women. Known as the Angel of Death, he offers them some sex, companionship and care in their infirmity and they offer him free room and board and money.

Flora thinks a fling with the younger man, who reminds her of one of her husbands might just be the cure for her depression. After all, he looks so nice sleeping against the pink silk sheets and under a large suspended gold cupid pointing his arrow at the bed. She invites her gossipy, gay duke friend, known as Witch of Capri (a very funny Edward Hibbert), to dinner so she can get the scoop on him. Things get complicated, however, when Christopher begins to awaken romantic feelings in Blackie (for whom he might have some feelings himself). Even the Witch can’t deny his own attraction to the drifter who makes a living making glass mobiles when he’s not living off a dying rich woman. The consequences reach out and touch everyone like the reflections thrown by the mobile Christopher gives Flora. (The mobile, hung stage left, tinkles on cue throughout the play thanks to John Gromada’s original music and sound design).

So, we have a sad, lonely, angry Southern belle fighting against her fate, a gentleman caller who gives hope to a young woman and glass art work that assumes a persona of its own. Where have we seen these before? That would be “The Glass Menagerie,” Williams’ far superior work which did have a run Off-Broadway last year. Alas, this play suffers in comparison.

Dukakis certainly works hard and reaches down deep for some nice emotional moments. Williams just never develops Flora or any of the other characters enough for us to care what happens to them, however. They seem more tools for the playwright to sound off in a poetic way about something from time to time, but fail to create empathy for what they represent -- the masks we all wear throughout different stages of our lives. One theatergoer, on exiting the theater, commented to his companion, “They live in a world very different from ours.” And because they do, we can’t relate.

There are a few moments of humor which we can enjoy in the otherwise depressing tale: Dukakis has fun with a Japanese dance and wears some zany costumes designed by David C. Woolard. There isn’t enough to offset the depressing and bewildering feel of the story, however, proving once again that neither big names on stage (think Patti LuPone in Women on the Verge) nor a talented director (think David Cromer with When the Rain Stops Falling for recent examples) can turn a not-so-great play into a good one.

The Milk Train Doesn’t Stop Here Anymore runs at the Laura Pels Theatre at the Harold and Miriam Sternberg Center for the Arts, 111 West 46th Street, NYC through April 3. Call 212-719-1300 for tickets.

Christians also might like to know:
Nudity
Sexual movement and dialogue
Homosexual activity
Language
God’s name taken in vain

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Our reviews are professional reviews written without a religious bias. At the end of them, you can find a listing of language, content or theological issues that Christians might want to know about when deciding which shows to see.

** Mature indicates that the show has posted an advisory because of content. Usually this means I would recommend no one under the age of 16 attend.

Theater Critic Lauren Yarger

Theater Critic Lauren Yarger

My Bio

Lauren Yarger has written, directed and produced numerous shows and special events for both secular and Christian audiences. She co-wrote a Christian musical version of “A Christmas Carol” which played to sold-out audiences of over 3,000 in Vermont and was awarded the Vermont Bessie (theater and film awards) for “People’s Choice for Theatre.” She also has written two other dinner theaters, sketches for church services and devotions for Christian artists. Her play concept, "From Reel to Real: The Jennifer O'Neill Story" was presented as part of the League of professional Theatre Women's Julia's reading Room Series in New York. Shifting from reviewing to producing, Yarger owns Gracewell Productions, which produced the Table Reading Series at the Palace Theater in Waterbury, CT. She trained for three years in the Broadway League’s Producer Development Program, completed the Commercial Theater Institute's Producing Intensive and other training and produced a one-woman musical about Mary Magdalene that toured nationally and closed with an off-Broadway run. She was a Fellow at the National Critics Institute at the O'Neill Theater Center in Waterford, CT. She wrote reviews of Broadway and Off-Broadway theater (the only ones you can find in the US with an added Christian perspective) at http://reflectionsinthelight.blogspot.com/.

She is editor of The Connecticut Arts Connection (http://ctarts.blogspot.com), an award-winning website featuring theater and arts news for the state. She was a contributing editor for BroadwayWorld.com. She previously served as theater reviewer for the Manchester Journal-Inquirer, Connecticut theater editor for CurtainUp.com and as Connecticut and New York reviewer for American Theater Web.

She is a Co-Founder of the Connecticut Chapter of the League of Professional Theatre Women. She is a former vice president and voting member of The Drama Desk.

She is a freelance writer and playwright (member Dramatists Guild of America). She is a member if the The Outer Critics Circle (producer of the annual awards ceremony) and a member of The League of Professional Theatre Women, serving as Co-Founder of the Connecticut Chapter. Yarger was a book reviewer for Publishers Weekly A former newspaper editor and graduate of the University of Missouri’s School of Journalism, Yarger also worked in arts management for the Bushnell Center for the Performing Arts, the Hartford Symphony Orchestra and served for nine years as the Executive Director of Masterwork Productions, Inc. She lives with her husband in West Granby, CT. They have two adult children.

Copyright

All material is copyright 2008- 2022 by Lauren Yarger. Reviews and articles may not be reprinted without permission. Contact reflectionsinthelight@gmail.com

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Key to Content Notes:

God's name taken in vain -- means God or Jesus is used in dialogue without speaking directly to or about them.

Language -- means some curse words are used. "Minor" usually means the words are not too strong or that it only occurs once or twice throughout the show.

Strong Language -- means some of the more heavy duty curse words are used.

Nudity -- means a man or woman's backside, a man's lower front or a woman's front are revealed.

Scantily clad -- means actors' private areas are technically covered, but I can see a lot of them.

Sexual Language -- means the dialogue contains sexually explicit language but there's no action.

Sexual Activity -- means a man and woman are performing sexual acts.

Adultery -- Means a married man or woman is involved sexually with someone besides their spouse. If this is depicted with sexual acts on stage, the list would include "sexual activity" as well.

Sex Outside of Marriage -- means a man and woman are involved sexually without being married. If this is depicted sexually on stage, the list would include "sexual activity" as well.

Homosexuality -- means this is in the show, but not physically depicted.

Homosexual activity -- means two persons of the same sex are embracing/kissing. If they do more than that, the list would include "sexual activity" as well.

Cross Dresser -- Means someone is dressing as the opposite sex. If they do more than that on stage the listing would include the corresponding "sexual activity" and/or "homosexual activity" as well.

Cross Gender -- A man is playing a female part or a woman is playing a man's part.

Suggestive Dancing -- means dancing contains sexually suggestive moves.

Derogatory (category added Fall 2012) Language or circumstances where women or people of a certain race are referred to or treated in a negative and demeaning manner.

Other content matters such as torture, suicide, or rape will be noted, with details revealed only as necessary in the review itself.

The term "throughout" added to any of the above means it happens many times throughout the show.

Reviewing Policy

I receive free seats to Broadway and Off-Broadway shows made available to all voting members of the Outer Critics Circle. Journalistically, I provide an unbiased review and am under no obligation to make positive statements. Sometimes shows do not make tickets available to reviewers. If these are shows my readers want to know about I will purchase a ticket. If a personal friend is involved in a production, I'll let you know, but it won't influence a review. If I feel there is a conflict, I won't review their portion of the production.

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