The Gentleman Caller--A Missed Opportunity

By Joseph Cervelli

I am not quite sure what to make out of Philip Dawkins’ maddeningly annoying new play “The Gentleman Caller” at the Cherry Lane Theater. Dawkins who wrote the delightfully funny and sincere “Charm” falters here big time.

The title of the play refers to the working one for Tennessee Williams’ “The Glass Menagerie” before it was changed. Here Dawkins has decided to write what he believes took place between Williams and playwright William Inge (“Picnic” “Come Back Little Sheba”) on two separate occasions back in 1944. I am not sure if this is all just conjecture on the playwright’s part or he actually read reports about what transpired, but it is hard to believe that they carried on in such a wildly campy and frightfully silly manner. 

One big mistake takes place right from the start when Juan Francisco Villa who looks and sounds like Williams addresses the audience about what they are going to see. It lessens the seriousness of the work setting the mark for a frivolous evening which it actually turns out to be. Villa appears to be a fine actor yet under Tony Speciale’s overbooked direction he becomes frustratingly obnoxiously loud and becomes more of  a caricature of the late playwright instead of a true portrayal. 

The first act takes place at the home of Inge (Daniel K. Isaac)  where he is the arts critic for the St. Louis Star-Times and is to interview Williams a month before “Menagerie” is to open in Chicago. I am not sure if there were any interviews recorded with Inge who was a closeted homosexual but from all reports he was not as overt in behavior as Williams.  You would think that part of this misguided play would include a serious yet humorous interview but that is not what Dawkins has in mind. He has written most of  it as pure farce which lessens any tribute to both giants of playwriting. When Inge asks Williams to sign an autograph photo of himself for his nephew he does so by writing something sexual. Suddenly the knotty and frantically insecure Inge becomes sexually crazed and starts to rip off Williams’ clothing. Thankfully, Williams makes him stop before it appears to be a real rape. As written there is such a contradictory look at Inge. We know from interviews that Williams was quite promiscuous especially as he tells tales here about being robbed by two hustlers at a local YMCA. Yet, for Dawkins to have Isaac suddenly adapt an almost  sexually uncontrollable personality makes no sense except to garner laughs from the audience which is achieves. 

The first act goes on with much talk about Williams’ family and his dedication to his sister Rose whom we know he idolized. But there is little connection between the two illustrious playwrights and the interview seems to fall by the wayside. We do discover that Inge has written his first play “Far Off From Heaven” and would like Williams to read it. What we learn from Williams any theater buff will have already known and what we don’t really know about Inge which I would think is a lot is never delved into.

The second act takes place in Williams’ hotel room on New Year Eve just after the opening of “Menagerie.” Inge has arrived and while the sexual content is played more seriously the play still sheds little light the relationship between these two men. It seems that Dawkins is more interested in writing scenes that are nods to the famous works by both men. We see Williams slightly inebriated again with his robe open walking with one crutch (think Brick from “Cat on a Hot Tin Roof”) and Inge telling him that his  dog which attacked the other playwright has run away (“Come Back Little Sheba.) Inge has this rather ineffectual and unpleasantly meaningless monologue (nevertheless, well delivered by Isaac)  near the end that is reminiscent of Williams’ “Suddenly Last Summer.” 

While Villa is extreme in his portrayal,  Isaac never seems to gain a grasp on his character. It does not help when Inge’s character is never full delineated. 

Sara C. Walsh’s fascinating set of stacks of manuscripts piled on each other with lamps (not sure about that touch) on each would be more fitting in a play that took a more substantial look at the playwrights instead of this juvenile one.  

What is so disconcerting is that instead of a well written play about what could have transpired which most  could have included romantic and humorous moments has been turned into a doltish affair by both playwright and director. 

         Tickets are available at the Abingdon Theatre Company at the Cherry Lane Theater 38 Commerce Street or by calling 866.811.4111/  The limited engagement ends May 26. 

PHOTOS: MARIA BARANOVA