I'm oddly excited about THE MILK TRAIN DOESN'T STOP HERE ANYMORE

[Borstalboy]

Posted: 1/7/11 at 11:44am

The play is as messy and ungainly as its title, but I'm still excited to see this Tennessee Williams oddity up and running in a major production.

This is actually a semi-transfer from an acclaimed production in Williamstown with Olympia Dukakis. I'm sure it won't break box office records or anything, but nonetheless I'm thrilled to see a (hopefully) good production of the kind of bad play by a master that you can love nonetheless.

[WOSQ]

Posted: 1/7/11 at 1:12pm

I am excited (if that is the right word) also. The play is an interesting mess. This was one of many plays our class read in a special topics course on Williams. Milk Train was the first of his many-in-a-row flops and it flopped twice. It is hardly ever done.

The Burton/Taylor and Noel Coward film version called "Boom!" is just dreadful. I couldn't look away. She was too young, he was way too old and Noel Coward was just bitchy enough.

[Ed_Mottershead]

Posted: 1/7/11 at 3:42pm

Don't forget the Off-Broadway production with Elizabeth Ashley, Amanda Plummer and Marion Seldes -- around 1989, if my memory serves me correctly. The play is one unholy mess but I'm interested to note that Edward Hibbard is pullilng another Noel Coward as the Witch of Capri. I don't think the play will ever work, but it has its moments -- I also saw the original with Hermione Baddely. And WHY is the production using a middle-aged looking man as Chris Flanders? Granted their limited acting abilities, at least Paul Roebling and Tab Hunter were the right age for the part -- and gorgeous, into the bargain.

Updated On: 1/7/11 at 03:42 PM

[After Eight]

Posted: 1/7/11 at 11:58pm

I attended the first preview tonight.

This is a problematic play that requires an optimum production to fully succeed. I wouldn't say it gets it here, but both the play's and the production's merits are sufficient to make it a worthwhile evening in the theatre. In fact, I would say that it's one of the better things I've seen this disappointing season.

The play itself has dramatic deficiencies that place it beneath the greats of the Tennessee Williams canon. It moves in fits and starts, and has quite a few longueurs. It also offers something of a potpourri of styles and tones, ranging from the poetic to the campy and ribald. But it is also a work of beauty, wisdom, and a deep understanding of the cruelties inherent in the human condistion, and a compassion for those who have to endure them. And quite a few good laughs as well!

The plum leading role offers a bravura opportunity for an actress to run the gamut of emotions, and after a tentative first scene, Olympia Dukakis mines the part for all its worth. She understands what Flora Goforth is all about, and in the end captures the humor, vulgarity, tenacity, and ultimately, the pathos of this woman.

Her foil, the Witch of Capri, was written for a woman, and here has been changed to a man, played by Edward Hibbert. I think it plays better for a woman, but Hibbert gives an intelligent and incisive performance. His razor sharp delivery is once again in evidence here, and he does a particularly good job of conveying the venomous side of this character.

Maggie Lacy was excellent as Blackie, holding her own alongside the outrageous antics of her employer.

The role of Chris Flanders has always been the most difficult part to play, mainly because of the enigmatic and elusive nature of the character itself. The character is hard to pin down by both actor and audience, and is written as more allegorical than being of flesh and blood. My problem with Darren Pettie is that he seemed too much of flesh and blood. There was little of either the poet or artist about him, and he seemed more like an opportunistic street tough than a mysterious being who comforts wealthy ladies about to die.

The set design seemed to reflect an overall uncertainty on how to approach the material. But despite its shortcomings, this production offers a worthy and effective presentation of a play well worth worth seeing. And it will no doubt improve even further in the course of previews.

[RippedMan]

Posted: 1/12/11 at 11:36pm

I saw the show today. I pretty much agree with what was said. I mean, it's a mess, but an interesting and entertaining mess.

The tech elements were okay. The set/sound/costumes just reminded me of Mamma Mia. It just seemed such an odd setting for a Tennessee William's play. I guess I'm just use to his major works, so it was interesting to see. The set just didn't work for me. I think forced perspective almost looks "comic book," so it doesn't work in a realistic style show. It works for Hairspray/Legally Blonde, but for something that is basically played so realistically, it just seems out-of-place, and makes the show seem more high camp than anything.

Olympia D. is great. She really gets the role and she's fabulous. Her monologues speaking into the overhead speaker were borderline chilling. Such a great presence.

The actress playing Blackie - to me, at least - was awful. Well, not awful, just boring? She didn't make any interesting choices. I also just don't like how the part is written. She's a very "wound" character. She even mentions forgetting to wind her watch. But there's never a chance for her to let down her hair and lose the pretense. She was just too stiff and "musical theater" to me. Just boring.

The male lead was interesting. I thought he had all the right parts for the character in theory, but something got lost. I just didn't understand why all these women would fall for him? I mean, he's handsome, but he was lacking on the charm. I mean, I didn't fall for him, or swoon for him when he was naked on stage. His acting was just one note. His whole end monologue just fell flat to me. I didn't get what he was going for. It felt like he was delivering information rather than giving me his character's opinion.

There were a lot of gay undertones in the play, and directorial choices to make a character's sexuality questionable. I'm not sure what point that makes? To have the main male character kiss another man, and not flinch, makes me question: WHY? I mean, why even delve into that? What does that prove? And also to have the "witch" come out with the head male waiter and basically hinting that they are hooking up is pointless too. What does any of that prove? To me it is just another lame gay stereotype. Like, we fall for any guy we can get. Just seems like something Tennessee Williams would be against. I know he's all about vague sexuality, but this does nothing to help the plot or character analysis.

Okay, and my MAIN problem: He spent 6 months making THAT wind chime? That?! I could make that in ten minutes with some glue and wire!

[iluvtheatertrash]

Posted: 1/13/11 at 10:33am

Caught it on Wednesday.

Dukakis is unbelievable in this role. A true master-class. Her monologues are HAUNTING.

I found the rest of the cast to be dreadful and really holding back the evening. The fellow playing Christopher Flanders (my playbill isn't near me now) was so absolutely awful you had no good or bad feelings toward his character. In my opinion, the best thing for the production would be to let him go. Plus, THAT'S sexy?

[RippedMan]

Posted: 1/13/11 at 11:47am

I agree.

And I wish the whole production had taken a more minimal approach to the material. I mean, do we really need a huge cupid flying into the bedroom scene?

Also, there was one line said by the Witch about "She can afford this right?" And Dukakis didn't say yes or not, just sort of turned away, which led me to believe maybe she didn't have as much money as she was letting on, so I would have liked to seen the production reflect that. That's a stronger choice, I think.

I couldn't help but relate this show to Sunset Blvd. A stranger appears at this mansion unexpected?

[iluvtheatertrash]

Posted: 1/13/11 at 12:04pm

I didn't even notice the cupid, to be honest.

I really loved the sets quite a bit. The amazing audio projections of her speeches blew me away - such a neat, absorbing effect.

Was Chris sexy? Evil? Good? Kind? Nice? Was he smart? Was he dumb? Was he rich? Was he poor? I have NO idea who that guy was. So blah-zay. Fire the guy! PLEASE!

[uncageg]

Posted: 1/13/11 at 1:19pm

I am seeing it next Tuesday evening.

[Ed_Mottershead]

Posted: 1/16/11 at 3:49pm

I saw yesterday's matinee and was very pleasantly surprised, since I've never cared for the play (and I go back to Hermione Baddely). The text has been revised since the Collected Plays of Tennessee Williams series came out that used the Tallulah Bankhead version. While not going so far as to say this is an unjustly overlooked masterpiece, this version was clearer. All the Kabuki stuff is gone (thank God) and the play moves cogently and at a good pace.

BUT, what makes this a must-see is Olympia Dukakis -- a truly great performance of an exhausting role, played to the hilt for all it is worth. No other Flora that I've seen even comes near -- a real masterpiece of great acting.

I'm somewhat surprised about the negative comments about the Chris Flanders. At one point in the play, it's noted that he's about 39 or 40, which makes a lot more sense. The guy is a beaut and you get to see all of him. And, I felt he kept up with Dukakis in their scenes together.

Still far from a perfect play, but it moved and provided a chance to see a Master Class in great acting from Olympia Dukakis. Highly recommended if you want to think.

[Dollypop]

Posted: 1/16/11 at 8:41pm

Saw the play this afternoon and really enjoyed it. I'd read it years ago while I was either in late high school or college and wasn't much impressed. This production changed my mind.

Dukakis is sensational: a true bravura performance.

I really liked Darren Pettie as Chris. He is age appropriate for the role, which is certainly meant to be enigmatic. True, his full frontal nudity is gratuitous but it's much appreciated.

Loved Edward Hibbert, too.

It was very impressive and I'll probably see it again before it closes.

[Mythos]

Posted: 1/16/11 at 11:15pm

It's a lackluster production in every department.
Updated On: 1/16/11 at 11:15 PM

[Dollypop]

Posted: 1/16/11 at 11:55pm

Mythos, would you please support that statement?

[Yankeefan007]

Posted: 1/19/11 at 10:34pm

Was there any reason Wilson cast a man (Hibbert) as the Witch of Capri? Was it to add a gay subtext to Flanders' character?

As delightful as Hibbert was - and he's at his very best here - I don't think having a man in the role added much to, or illuminated anything in, the text.

[Mr Roxy]

Posted: 1/19/11 at 11:28pm

I cannot believe I agree with Dolly on anything

Very enjoyable & Dukakis is phenominal. That bed however is ugly as sin & has to go. Why get a real tape recorder & not have it actually work. Just 2 small observations but see the show if you can.

[RippedMan]

Posted: 1/19/11 at 11:39pm

Agree Yankee. I mean, why have the servant's backstory be changed to make him bi-sexual or something? There's that part where he comes out for a brief second and the witch slaps him on his ass and they make a "giddy/giggling" noise and go off together. I mean, why was that needed?

[PalJoey]

Posted: 1/20/11 at 12:28am

I agree with everyone who praises Olympia. She is giving a performance that deserves a Tony nomination in a theater ineligible for Tonys. But she is that good. She deserves something!

I liked Maggie Lacey, who played Blackie and Darren Pettie, who played an appropriately over-the-hill Chris Flanders. Those two roles are enormously difficult to play because the have to deliver a couple dozen each Williams monologues, which are bot his most beautiful and which tend to go on and on. She had to be cranky and he has to be elliptical. Both characters can easily be annoying.

And Olympia as Mrs Flora Goforth is magnificent. Her command of the language is masterful. She purrs, she growls, she harks, she moans...her voice is supple and expressive and pathetic and hysterical. She starts off completely in control of her instrument, which makes her final breakdown all the more moving.

This is one of those performances you must see, if you like to say you're the kind of person who sees this sort of thing, or for the rest of your life you'll regret that you didn't see this.

I'm going back, with PalJoey'sPal...and maybe with Reginald Tresilian and NYAdgal...and maybe Namo and iflitifloat...and maybe RobbieJ would be in the mood for a true diva delivering some prose so purple you could even call it "mauve."

[After Eight]

Posted: 1/20/11 at 6:29am

"a true diva delivering some prose so purple you could even call it "mauve.""

But "mauve" is a light purple, so perhaps "aubergine" would be more appropriate. :)

But actually, I didn't find this prose very purple at all, so maybe "mauve" is the apt word, after all! :) :)

[After Eight]

Posted: 1/20/11 at 7:39am

Reading Ed's comments about Chris Flanders's age sent me back to the text as published in the collected works of Tennessee Williams. This was published in 1976, and reproduces the text of the 1964 Tallulah revival.

The role of Chris Flanders has always been the play's major problem because of its vagueness in both conception and writing. Looking back at the text, it seems that Williams himself was unsure about who this character is meant to be, and that uncertainty comes out on stage. In this text, when Flora looks at his passport, it is noted that he is 35, to which Flora comments, "no chicken." (I don't remember if this is the age he is given in this production. Ed mentions 39-40.) But in Williams's own stage notes in the text, he describes the character as a "young man." Now one's conceptions of age are relative, I guess, depending on where you are on life's path, but, generally, when one uses the generic phrase, "young man," that does not mean 35. The actors who played the part in the two Broadway productions, Paul Roebling and Tab Hunter, were 29 and 33, respectively, but they both looked younger. When Richard Burton played the part in the awful movie version, "Boom," he was 43, and looked older still. Personally, I think that if Chris Flanders is meant to be the angel of death, he should look like Roebling and Hunter did. But again, there is a problem in the conception of this role.

Looking at the printed text again, I wonder about some of the changes now viewed at the Laura Pels. What version of the text is this, and when was it written? There are humorous lines in the printed text of 1976 which are not heard at the Pels. I also wondered about Flora's comment about Chris having a "nice ass" when looking at him through binoculars. It didn't seem right for the character. And it's not in the printed text.

So the questions continue for the elusive, mysterious "Milk Train." I still find it a fascinating, if flawed, work.

[PalJoey]

Posted: 1/20/11 at 8:26am

But "mauve" is a light purple, so perhaps "aubergine" would be more appropriate. :)

You're absolutely right. But "mauve" is a funnier word.

What's the line Vera says to Mame about still being in mourning attire?

[Borstalboy]

Posted: 1/20/11 at 9:18am

Saw it, loved it, deets later.

[Yankeefan007]

Posted: 1/20/11 at 9:29am

After Eight, I believe they're using an amalgam of a variety of printed scripts, unpublished drafts and the original short story.

[uncageg]

Posted: 1/20/11 at 12:02pm

Saw it on Tuesday evening. I enjoyed it. Dukakis and Hibbert were wonderful. Lacey and Pettie need to get more comfortable with their characters, in my opinion. Both were kind of wooden. And what was up with the handrail on the right? It made it appear as if their was supposed to be a staircase but they just walked straight offstage. It was a bit odd.

[Ed_Mottershead]

Posted: 1/20/11 at 2:01pm

Yankee Fan, I totally agree with you. I would be very happy if this version were published -- it plays much better than any other I've seen. As far as the comment about Chris's "ass," I think it's in character as long as you keep in mind that Flora started from the bottom of the social heap and worked herself up. And I'm sure that either Blackie or Flora referred to Chris as being "39 or 40."

[RippedMan]

Posted: 1/20/11 at 3:14pm

I noticed the handrail as well. I thought maybe Olympia requested it for entrances in the dark or something, but she seemed to be in great shape, so who knows?