The Milk Train Doesn’t Stop Here Anymore

Fountain Theatre
5060 Fountain Ave., Hlywd.
Thursday-Saturday, 8 p.m.,
Sunday 2 p.m.
Through Nov. 4
Tickets: $18-25
www.fountaintheatre.com

Tennessee Williams’ famous—or perhaps infamous—1963 play is a genuine curiosity. Not many plays could list such a colorful array of actresses playing its leading lady over the years—Tallulah Bankhead, Hermione Gingold, Elizabeth Ashley, Elizabeth Taylor and, oh yes, Rupert Everett (in a 1994 London revival). Its leading man character, Christopher Flanders, aka the Angel of Death, has been played by actors ranging from hunky Tab Hunter in his early-1960s prime to a paunchy late-1960s Richard Burton in the critically savaged Taylor-Burton film adaptation, Boom! And the bitchy neighbor character, the Witch of Capri, has been brought to life by none other than revered actress Marian Seldes (who also played a different role in a separate production) and gay icon Noël Coward, among others.

Does this show hold the record for the most bizarre gender-blind casting gambits of all time? The late diva Bankhead was the closest thing to a drag queen outside of the real thing—or perhaps Bea Arthur—so casting Everett seemed a logical choice. And Coward’s portrayal took the Witch out of a dress entirely—he played it as an overbearing gay queen. In the Fountain Theatre’s valiant production, under Simon Levy’s assured direction, Karen Kondazian’s wildly flamboyant, yet somehow empathetic portrayal of the loony heroine, Flora, follows suit with the play’s androgynous tradition. For an added twist, Scott Presley (so fondly remembered for his transvestite character in Southern Baptist Sissies) does a real drag turn, playing the neighboring Witch as a glamorous woman.

The Fountain is courageous in taking a new look at a show that’s reputed as one of Williams’ worst. What surprised me (after seeing only the wretched film version years ago) is that the play isn’t as bad as its detractors would allow. But it isn’t particularly good either. This verbose and slow-moving drama contains soaring moments of Williams at his most poetic, but by and large it seems mired in self-parody, recalling previous and better Williams works. It’s hard to imagine that the playwright didn’t realize while creating this that it was overflowing with gay sensibility and that it would be hard to fathom as serious drama. Yet, he’s on record as saying the film version is the best film adaptation of any of his plays, so go figure.

The story is about ailing dowager Flora Goforth, a filthy-rich and eccentric writer living in her plush Italian villa overlooking the Mediterranean. She’s trying to dictate her memoirs to her dutiful secretary (Lisa Pelikan), when a stranger, Christopher Flanders (Michael Rodgers), arrives, attacked by dogs as he approached her property. As this charming young poet recuperates in her villa, she lusts for him and engages him in power games. The neighboring Marchessa (known as the Witch of Capri) pays a visit, warning Flora that the charismatic visitor is a mysterious being who pays visits to elderly ladies just prior to their death.

Levy’s handsomely staged production (awesome set by Travis Gale Lewis, fine costumes by Shon Le Blanc, marvelous lighting by Kathi O’Donohue, superb sound effects by David B. Marling) is crisply professional. Kondazian is a consummate actress, and makes us care for Williams’ overwrought caricature—more reminiscent of Baby Jane Hudson than Blanche DuBois. Rodgers is superb as the enigmatic romantic figure, and Pelikan brings welcome down-to-earth realism to her role. Rhino Michaels, Dominic Acosta and Lauren Silvi offer fine support in smaller roles. Presley finds moments of droll humor, but the role would work more effectively if played by an older actor (or actress). Williams fanatics are the most likely audience for this creditable production of a still-problematic play. — Les Spindle

Spring Awakening

Chandler Studio Theatre
12443 Chandler Blvd., NoHo
Friday-Saturday 8 p.m., Sunday 3 p.m.
Through Oct. 27
Tickets: $20
www.theprodco.com

TL Kolman and August Viverito, who launched their new venture, the Production Company, two years ago, have taken over the Chandler Studio Theatre. Their first offering there is Frank Wedekind’s once-scandalous 1891 German drama, Spring Awakening, which was the basis for the current Tony-winning Broadway musical of the same name.

The play is set during the period it was written, following the stories of children in a repressive German middle school. Exploring themes that one dared not even mention at the time, Wedekind exposed the dangers of radical sexual repression. Hypocritical teachers and parents keep teenagers completely ignorant about sex, drilling into their heads that any thoughts about sexual matters are deviant aberrations, and breeding intense guilt into the youngsters over their natural hormonal drives. Melchior (played with insouciant bad-boy charm, as well as a dark edge, by Adam Kalesperis) pursues kinky adventures with the upbeat Wendla (engagingly played by Abbie Cobb), but the fun doesn’t last for long, as there are unexpected consequences to their involvement. Meanwhile, Melchior’s nerdy and insecure chum Moritz (the superb Wyatt Fenner) is tortured by guilt over his fascination with porn and by other pressures. The clueless adults (well played by J.C. Henning and Thomas Mikusz in multiple roles) create problems that don’t exist for the kids, and are inept at handling the problems that are real. The episodic narrative starts out humorously and grows more ominous as the story progresses, leading to more than one tragedy.

Translated by Francis J. Zeigler and adapted for this production by Viverito, who also directs, the result is a respectable though not very successful attempt to parlay the ancient text into palatable fare for modern audiences. I haven’t seen the Broadway show, but it has a huge contingent of admirers as well as its detractors. Those who responded to it favorably speak about it rapturously. There are two primary problems with the dramatic version as presented here—the language remains too pedantic and stilted, and the downward spiral of the children slips from tragedy into artificial melodrama.

On the plus side, the production is fast-paced and generally absorbing, and Viverito’s strong cast invests the roles with energy and sincerity. This is an admirable attempt to revisit a historically important show that was unfairly reviled in its time. Those familiar with the musical will probably be especially curious to check it out. — L.S.