Alison Fraser

Cat on a Hot Tin Roof

Cat on a Hot Tin Roof

Tennessee Williams’s Cat on a Hot Tin Roof features roles that are (pardon the expression) catnip to adventurous actors. This land mine of a play premiered in 1955, a year that, in retrospect, seems the apex of Williams’s success. The playwright’s career took off with The Glass Menagerie in 1945, followed by A Streetcar Named Desire in 1949, and continued for 28 years after Cat, until his death in 1983. During a long literary decline, he wrote a number of lesser, though admirable, plays, but even the best of those don’t measure up to his depiction of the Pollitts, a clan of nouveau riche Southern strivers squabbling over “twenty-eight thousand acres of the richest land this side of the valley Nile.”

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Paradise Lost

Paradise Lost

The Fellowship for Performing Arts concentrates its efforts on drama with a Christian theme. Previously it has presented an adaptation of C.S. Lewis’s The Screwtape Letters; Shadowlands, a 1990 drama about Lewis himself and his middle-aged romance with an American Jewish woman; and Robert Bolt’s A Man for All Seasons (1960), about Sir Thomas More. But its current production of Paradise Lost is a heartening leap forward for the company.

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Heartbreak House

Heartbreak House

The Gingold Group in New York thrives on the plays of George Bernard Shaw. Each month, artistic director David Staller assembles a cast for readings of them, but far too seldom is a Shaw work fully staged in New York. As Staller’s production of Heartbreak House shows, Shaw is still timely, almost uncannily so. Set during World War I, the play is an examination of the British nation; its characters encompass rich and poor, young and old, gentry and businessmen and clergy. In the view of the shrewd old socialist, it is, in the words of heroine Ellie Dunn, a “house without foundation—I call it Heartbreak House.”

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