“
His Greatness is not a play about
Tennessee Williams,” insists author Daniel MacIvor. The central
character is never identified as Williams, but simply as The
Playwright. He is, however, like Williams in terms of age, sexuality,
personal and professional condition and speaks with so heavy a southern
drawl that by comparison Blanche Dubois would sound Brooklyn. He is in
terminal decline as a writer, a wreck of insecurity whose relationship
with his assistant (The Assistant) is a web of consensual fictions and
power-plays. In a Vancouver hotel room for the première of his latest
disappointing work, the two-way tensions become three-way when a
further player enters in the form of a rent boy hired as an escort for
the evening.
Ché Walker’s production centres on Matthew Marsh, in a strong
performance which is all the more admirable for his having joined the
production only ten days or so before press night. Marsh’s Playwright
preaches, simpers, whimpers and demands that those around him fuel his
delusions of his continuing importance. The Assistant (Russell Bentley,
reminiscent of a young Richard Benjamin playing a bitch-queen) at one
point quotes Martha from
Who’s
Afraid Of Virginia Woolf?, but in truth is more like Albee’s
George, the worm who finally turns. Toby Wharton’s Young Man is one of
those sly figures who think they are playing others when in fact they
are being played.
MacIvor muses, in the 85-odd minutes of playing time, not only on
Williams but on that writer’s own preoccupations: power, sexuality,
memory and the like. The play strikes a tone consonant enough with
those of Williams’ works, but that programme-note disavowal comes to
sound appropriate: if this is not
about
Williams, then we should not look too hard for Williams-related
insights, just drink in the Williamsesque atmosphere and allusions. It
tries, I think to have its cake and eat it, or perhaps (given the
Playwright and the Young Man’s predilections) to have its line and
snort it. Its scheduling is perhaps deliberate in that it arrives after
last year’s crop of productions commemorating the centenary of
Williams’ birth, but it does not quite avoid being seen in that
context. As such, it is well staged and thoughtful but offers no unique
addition to the composite centenary portrait.
Written for the Financial
Times.