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Baby Doll
by Tennessee Williams
directed & designed by Joel Daavid
Lillian Theatre
extended through January 22
It is common knowledge that a movie director's vision shapes the outcome of a film, meaning that irregardless of the quality of the actors' performances, film is most assuredly the director's medium. Now in translating Tennessee Williams' screenplay Baby Doll to the stage, Joel Daavid is proof positive that the director is in control. Starting as the one-act 27 Wagons Full of Cotten, when adapted into the film Baby Doll, director Elia Kazan made the atmosphere of place just as important a character as Archie, Flora and Silva. Daavid is determined with his amazingly ample and mood- perfect stage set to transport the audience into the delapidated world of Tiger Tail, Miss. of the late 50s, and cinematically, he does just that. Using an ensemble of actors who play townsfolk to double as ghosts around Archie's run-down homestead is Daavid's original perspective, not a part of Kazan's movie. Some may question the stylized manner in which these characters move around within an otherwise gritty, realistic play, but one thing is for sure: Daavid's re-envisioning does create an undeniably eerie mood that enhances the uncertainty of destiny so apparent at the play's core. The themes of Where to go? and what to do? echo throughout.
About to turn 20, Baby Doll Meighan (Lulu Brud) is burning for sexual contact, but not with her husband of two years, overweight, bigoted, conniving Archie Lee (Tony Gatto). Instead, without declaring it outright, she prefers the attentions of vengeful Sicilian Silva Vacarro (Ronnie Marmo), whose cotton gin has been destroyed by arson. Archie Lee, whose business had been failing due to Silva's more modernized equipment committed the crime and expects Baby Doll to lie and protect him. Silva suspects Archie and seduces Baby Doll in order to get her to sign an affidavit that attests to Archie's guilt. Also on the premises is dotty Aunt Rose (Jacque Lynn Colton) who, appropriately named, finds solace living in a rose-colored trance. As in most Williams' works, there is one hopeless character, usually female, who distorts the mundane, kitchen-sink environment; in Baby Doll it is Aunt Rose.
Under Daavid's strong hand, the acting is top notch. Brud make Baby Doll her own sensuous, naive yet resourceful creature. Gatto is like a raging bull as Archie and Marmo has never been better as the slick spiteful Vacarro. His seduction of Baby Doll is slow, smooth and enticing. Colton as Aunt Rose is a scene stealer. From her first beat on stage, she creates a unique portrait of this daffy soul who would rather pick flowers, eat chocolates, or sing to amuse herself than face the reality of her pitiful existence.
Daavid's Baby Doll puts a slightly different spin on Williams' portrait of a decadent, crime-ridden Southern town by adding colorful strokes that never diminish the original intent. This is a production, definitely worth your time.
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