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Orpheus Descending 

One of Tennessee Williams' great but problematic tragedies lacks urgency

Wednesday, Jul 14 2004
One of Tennessee Williams' great but problematic tragedies is a Southern Gothic featuring a wandering blues musician, Valentine Xavier. Val wears a snakeskin coat and carries a guitar inscribed by singers such as Blind Lemon Jefferson and Bessie Smith. He wants to abandon his old life of juke joints and cheap women, so he accepts a straight job at the Torrance Mercantile Store in an unnamed small town, where his sheer physical beauty upsets the sheriff, the local biddies, and the sick tyrant Jabe Torrance. It also entices Mrs. Torrance, and her and Val's halting love affair makes a fine, slow-moving melodrama. Brando played Val in a movie version, The Fugitive Kind, which also moved at a sluggish pace. Jean Shelton's revival at the Actors Theatre, unfortunately, solves none of the pacing problems. In spite of a well-cast group and a vivid set by Scott Agar Jaicks, there's no urgency to the show. Alex Garcia has the right blank, smoldering intensity as Val; Nadia Tarzi has the right olive skin and vague accent for Lady Torrance, who's fervid and Italian; Niki Yapo is appropriately rebellious and frail as Carol, who remembers Val from his previous life. But they all seem to talk past each other. Only Padma Moyer and Delinda Dane, as two of the local biddies, and John Krause, as Jabe, manage to infect the performance with life of their own. Otherwise the actors seem to wait for a passion that never quite arrives.


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