The dark handsome stranger who praises Flora’s ‘delicate’ flesh is only contrasting that with what he intends and feels. This play offers virtually no redemptive moment of empathy.
Vicarro knows what happened but can’t prove it, so he seeks revenge via Flora. You wonder what transaction Jake’s really seeking. Now he can employ the penniless Vicarro (a glowering whip-in-hand Stephen Carruthers), and brings him back for Flora to entertain whilst on other business, praising Flora’s voluptuousness. Crawford’s brutally chilling and you dream revenge as Fox exudes vulnerability and confusion. He almost tortures Flora into getting the story right. It’s clear from his wrist-wrenching Flora on his return that Jake’s burned down the mill of Silva Vicarro, a rival in the cotton business. Soon Flora and other voices offstage thrill to a blaze. The southern accents Williams has exported dramatically are consummate in both. She’s young, fragile, with the quotient of yearning Williams gifts and curses many women but here Flora’s nearly inarticulate, almost without inner resources of any kind. Jake, a middle-aged, shady cotton gin owner picks up some fuel oil and drives off in his Chevvy deserting his young wife Flora. Ellie Stevens supplies impressive recorded voices and sound, flames, shouts and a lowering threshing faded out to allow dialogue.
Codge Crawford, Helen Fox and Stephen Carruthers – also responsible for lighting, set with an ancient-green swing and technical, are directed by Codge Crawford. It’s a brutal three-hander, Williams describing it as Missisippi Delta comedy. already famed for a Edinburgh Fringe sell-out. Not just because they premiere the 1981 Ivan’s Widow adding the 1953 Talk to Me Like the Rain and Let Me Listen but the gem: 27 Wagons Full of Cotton from 1946. Reviewįox and Hound Theatre Company’s trio of Tennessee Williams are a must-see.
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