“All the elements have come together seamlessly to provide an engaging, gripping submersion into the world of secrets, memory and perversion.“
Kate Stratford
4.5 southern belles
Ensemble
Tennessee Williams featured women more often than men in his plays and whilst all of them are either Southern “gentlewomen” or Southern “wenches”, all their problems are the universal – the human heart in search of reality and meaning. Perhaps he chose women to examine these issues as he was not allowed his live his own authentic life; indeed his sympathies seem to be always with the Blanches, the Maggies, the Lauras and Amandas and in this instance, the Catharines.
For over twenty years, the very wealthy mother and son – Violet and Sebastien Venables – spent their summers touring the world. Then suddenly, last summer, Violet suffered a small stroke and repulsed by the paralysis of one side of his mother’s face, Sebastien takes his
young, impoverished cousin Catharine with him. But in Spain, Sebastian dies. And Violet, intent on glorifying her son’s reputation and memory, locks Catharine away in an asylum as Catharine’s account of what happened traduces him. From the first, the play is rich in
metaphor and detail. Set in Sebastien’s jungle garden, there are multiple references to violence, predation and cannibalism. An exquisite design (Simone Romaniuk) in the Ensemble’s small space provides not only an encompassing sense of the stifling atmosphere of the South but the barely controlled violence of human passion which snakes through the play. Printed muslin drapes breathe yet smother. Terrariums keep dangerous plants at bay but characters sit carelessly on the surfaces, as though oblivious to the danger beneath them.
This understanding of the gothic nature of the play is echoed in the lighting (Morgan Moroney) and sound (Kelly Ryall) designs. The subliminal, sinister effects of both build to a mesmerising moment of revelation, leaving the audience in that telling moment of silence
upon conclusion. It complements well the lyricism of William’s writing.
What is interesting in this play is the lack of the protagonist – for he is dead. All we can know of him is the conflicting accounts given by Violet and Catharine. But what does emerge is that Sebastian was someone who consumed and destroyed those around him, both emotionally and physically until (because nature rewards like with like) he is destroyed by those very things.
The stakes are high, for not only does a reputation hang in the balance but so does sanity and freedom. Shaun Rennie’s direction builds the dramatic tension inexorably to its shattering conclusion. He also does not allow the southern accents to overwhelm the production – they add flavour without unnecessary drawling or posturing.
Both Belinda Giblin (Violet) and Andrea Demetriades (Catharine) are magnificent in their meticulously nuanced portrayals of the two Southern women pitched against each other. Both hold their audiences spellbound in their long monologues which litter the play. Valerie
Bader (Mrs Holly), Socratis Otto (George) provide the Southern tones reminiscent of Goober and Mae from Cat on a Hot Tin Roof. Kate Skinner does a nice line in doubling up whilst Remy Hii as Dr. Cukrowicz brings authority and quiet presence to a role with questionable motives and practice. The cast connect, disconnect and re-connect in moments which develop real characters and celebrate the poetry of the play.
Shaun Rennie has notched up quite a success with Ensemble’s production Suddenly Last Summer. All the elements have come together seamlessly to provide an engaging, gripping submersion into the world of secrets, memory and perversion.
Kate Stratford, Theatre Now
