The Rose Tattoo
((The Hudson Theater: 99 seats; $ 20 top))
The Creative Group presents "The Rose Tattoo," a play in three acts by Tennessee Williams, directed by Deborah La Vine. Producer is John Torbett. Set design, Cara Hoepner; lighting design, Paulie Jenkins; sound design, Greg Lhotka; costume design, Jill Klein. Opened Oct. 25, 1996; reviewed Oct. 26; runs until Nov. 24. Running time: 2 hours, 30 minutes. Cast: Michelle Danner (Serafina Delle Rose), Rob Estes (Alvaro Mangiacavallo), Tia Texada (Rosa), Michael Woolson (Jack), Shannon Welles (Assunta), Katie Leede (Estelle), Linda Porter (The Strega), Peter Benzoni (Father De Leo), David Chase (Doctor), Stephanie Ittleson (Miss Yorke), Tamara Zook (Flora), Carol Kline (Bessie), Aaron Buckwalter (Salesman), Mauro Blanco (Musician), Penny Bayard (Peppina), Donne McRae (Violetta), Judy Pies (Mariella), Lillian Johnson (Teresa), Matthew Falk (Bruno), Nassira Nicola (Vivi), Sara Ann Kline (Lucia). Sexual frustration is a driving theme in most of Tennessee Williams' work and it certainly runs rampant in his 1950 stage play, "The Rose Tattoo," not seen locally for 18 years. But this Tony-winning work is also supposed to be a knockdown, belly-busting farce as it chronicles the life and times of one of Williams' most intriguing women, the long-suffering widow Serafina Della Rose (Michelle Danner). Unfortunately, Danner struggles with the character more than she inhabits it, despite taut pacing by director Deborah LaVine and a large, talented supporting cast. Without a Serafina who is totally secure in her own absurdity, Williams' wonderfully crafted farcical elements fail to ignite, and the plot becomes a series of semicomedic vignettes with no cohesion. Living in a Southern coastal community, Serafina, after three years, is still enjoying her chest-pounding anguish over the death of her beloved husband, a trucker named Rosario, whom she worshipped as royalty. Despite her meager existence as a seamstress, Serafina derives strength in her memories of having had the perfect love, what she calls "the glory." That love is also the source of her ongoing derision of the lives of the women around her. They, in turn, know the truth: the long-lamented Rosario had been having an affair with a local black-jack dealer, Estelle (Katie Leede), who bears a tattoo of a rose over her breast to forever claim him as her own. Many of the scenes hit their mark due greatly to some inspired ensemble work. Serafina's struggle to protect her rapidly blooming daughter, Rosa (Tia Texada) is hilarious. Texada ("Malibu Shores") is a coiled spring of virgin passion, which her Rosa can't wait to unleash on her equally naive young suitor, Jack, played with endearing sincerity by Michael Woolson ("Beverly Hills, 90210"). One highlight occurs when Serafina forces Jack to kneel at her homemade shrine and swear to the Virgin Mary that he will protect the innocence of her daughter, while Rosa's indignant visage keeps appearing at the window outside the house. Also effective are Stephanie Ittleson as the no-nonsense teacher Miss Yorke, who frees Rosa from Serafina's house arrest so the girl can attend her high school graduation; the man-hungry duo of Flora (Tamara Zook) and Bessie (Carol Kline), who incur the wrath of Serafina when they flirt with American Legion conventioneers from Serafina's window; and Shannon Welles as Serafina's only well-adjusted friend, Assunta. The work takes another step forward in the second act with the arrival of Alvaro Mangiacavallo (Rob Estes), whom Serafina describes as having "...my husband's body with the head of a clown." Estes ("Melrose Place") creates a memorable portrait of a furtive, thoroughly intimidated little man whose passion for Serafina allows him to rise above himself in quest of her. The technical aspects of the production are a great plus, particularly the detailed realization of Serafina's messy home by set designer Cara Hoepner, assisted greatly by set decorator Lisa Watz, the lighting of Paulie Jenkins and Greg Lhotka's atmospheric sound design. Julio Martinez
