While it never crossed into being offensive, I didn’t
find myself agreeing with much in this play and I’m not convinced that William Inge
did either. His attempt to argue that attention must be paid to working-class
Hal and sell Hal’s Rebel Without A Cause romance to Marge feels half-hearted. As
played by Patterson, Hal is attractive and charming but his ambition outpaces
his skill. He’s not a hard-worker who wasn’t given a fair shot but a compulsive
liar, spinning tales and looking for the easiest path through life. Patterson’s
performance saves him from feeling villainous. Hal’s attempt to get a job out
of Alan echoes his treatment of Marge. Inge takes up the cause of working class
masculinity at the expense of working class women. He lets Marge voice her
dissatisfaction with only being admired for her appearance but then keeps her
weak and in a destructive heteronormative cycle where women need men to fully
feel like women. Her moment of agency is in choosing to follow Hal. She never
learns to want anything more in life than having him share his past with her.
Surely there could have been someone else to see past her looks and treat her
like a real person. And although there’s evident desire between them in other
scenes, Le Vine plays the aftermath of their night of passion as though it was at
best coercion and at worst rape, which sours the already problematic affair.
Emily Skinner’s performance as Rosemary is the real
reason to see this play. The way the character is written is highly
problematic, but Skinner finds a real sensitivity in portraying what would
otherwise be a stereotype. Rosemary is a schoolteacher living as a boarder with
the Owens’ family. On the page, she puts up a front of independence and
self-sufficiency while actually longing for marriage. Similarly, she makes a
show of moralizing only to lust after Hal, molest him, and lash out when he
rejects her. In Skinner’s hands, Rosemary is more than a shrew and a hypocrite.
She is always reacting, even if she isn’t the focus of a scene. You feel her
presence keenly and you understand her desperation when Inge, Hal, and Howard
try to sweep her away into the invisibility of the role of spinster
schoolteacher. The marriage proposal that should be humbling and humiliation of
Rosemary becomes the powerful argument that attention must be paid that is
missing from Hal’s story.
Although I’m always intrigued to investigate another
classic play, I don’t think this production of Picnic made a compelling case
for why it needed to be revived. It’s not expecting too much from the decade to
ask for a more interesting argument about class and gender relations. And aside
from the politics of the play, the material still felt dated and inaccessible.
I felt there was a level of cultural context missing that was most apparent
with Marge’s and Rosemary’s plots. You can make some leaps to infer why characters
act the way they do but you don’t fully grasp the context of the social norms
and realities of the time period while actually watching the play. While I don’t
think that level of understanding would have redeemed the arguments, its
absence did not aid them.
Hannah Elless’ acting usually comes across as very
affected but it works here in service of bridging the age discrepancy between
her and the character of Millie. She comes across as a Scout-like tomboyish
character with a flair for the literary and the dramatic that disguises Elless’
inability to be naturally in character. The way this production is staged, her
final exit makes you feel like she is choosing a different path in life that
will end up saving her from the influence of “ornery bastards.”
John Cariani is serviceable as Howard but seemed miscast.
He didn’t seem to embody the masculine counterpart necessary to balance out
both Hal and Rosemary. In spite of what was in the script, he didn’t come
across as lecherous enough with Marge and offered up little real resistance to
Emily Skinner’s Rosemary.
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