Review - Dark at the Top of the Stairs

The Dark at the Top of the Stairs

By William Inge

American Theatre Company

http://www.atcweb.org

In 1973, at the age of 60, playwright William Inge sadly ended his life, feelings of failure as a playwright enveloped him, his last years filled with a string of theatrical flops. But as seen through this work, Inge certainly was not a failure.

Born in Kansas in 1913, Inge sojourned through a series of jobs, including a highway laborer and high-school English teacher, before finally settling in as the drama critic for the St. Louis Star-Times in 1943. Being friends with the great American playwright Tennessee Williams, he accompanied Williams to a Chicago production of Williams’ The Glass Menagerie, (yes, there is a Chicago connection!). After seeing this play, Inge was inspired to write his first work, Farther Off From Heaven. (Regarding Williams and Inge, some scholars have surmised that they were intimately involved, but this has never been confirmed). Later in life, Inge re-worked Farther Off From Heaven, and it was performed on Broadway under the new name - The Dark at the Top of the Stairs. After Inge’s theatrical and movie triumphs of Come Back Little Sheba, Bus Stop, and Picnic (which also won him a Purlitzer Prize), this play would be his final success.

The Dark at the Top of the Stairs, set in the early 1920’s, tells the story of an Oklahoman family struggling to stay intact despite a mostly-absent and unfaithful husband, Rubin Flood (Tim Decker), and an over-protective lonely wife, Cora Flood (Cheryl Graeff). Central in the story are the couple’s two children, 10-year old Sonny (Edward Heffernan) and the obsessively-shy 16-year old Reenie (Kelly O’Sullivan). Conflicts occur around the planning of a party that Reenie is invited to, but desperately does not want to attend, coupled with a physically abusive argument between the parents.

In one poignant scene, Sonny is seen standing at the bottom of the darkened stairway, too scared to go upstairs. As his mother tells him that he needs to overcome his fears and head up to bed, Sonny relays that he is not afraid if someone’s with him. Thus we see the powerful message that the one way to overcome the family’s struggles and fears is by dealing with them together.

Performances range from good to exemplary. Decker plays the husband with a believable cowboy swagger, hiding his insecurities underneath his uber-masculinity. O’Sullivan portrays the wall-flower daughter with a solid unsuredness that draws empathy from the audience. The supporting cast greatly assist in making this a powerful ensemble work. Though over-all a fine performance Graeff’s portrayal of the family matriarch lacks the much-needed depth of a woman who is, most of all, a survivor - scheming to keep her family together. Her responses to some of the off-remarks border too much on the side of judgment rather than a controlled or calculated inquisitiveness.

The stand-out performance is undoubtedly that of the brooding, insular son, Sonny (Edward Heffernan). Heffernan plays the waifish boy with a mixture of childhood imagination combined with a persona of the observer, taking in the angst around him. Rarely has there been such a stellar youth performance on Chicago’s many stages.

The design team for this work has done an exciting job - the living room, in which all of the action takes place, is meticulously assembled, solid furniture pieces placed under a smartly-designed frame arching above the room, a cut-out in the shape of a home, portraying a central theme of the hidden secrets living within seemingly utopian America family life. Costumes are consistently well-placed; the sound design - save for a bit-too-tinny piano - is professionally carried out.

Chicago theatre-goers have been blessed this season, through both this production and Strawdog Theatre’s presently-running Come Back Little Sheba, in that we are given the chance to see Inge at the beginning and end of his theatrical successes. Taking in both of these productions will treat you to an example of one of America’s greatest playwrights.

Rating: Recommended (3stars)

Reviewed by Scotty Zacher

[email protected]



	What ever happened to Dainty June *The Dark at the Top of the Stairs* By William Inge American Theatre Company http://www.atcweb.org In 1973, at the age of 60, playwright William Inge sadly ended his life, feelings of failure as a playwright enveloped him, his last years filled with a string of theatrical flops. But as seen through this work, Inge certainly was not a failure. Born in Kansas in 1913, Inge sojourned through a series of jobs, including a highway laborer and high-school English teacher, before finally settling in as the drama critic for the St. Louis Star-Times in 1943. Being friends with the great American playwright Tennessee Williams, he accompanied Williams to a Chicago production of Williams’ The Glass Menagerie, (yes, there is a Chicago connection!). After seeing this play, Inge was inspired to write his first work, Farther Off From Heaven. (Regarding Williams and Inge, some scholars have surmised that they were intimately involved, but this has never been confirmed). Later in life, Inge re-worked Farther Off From Heaven, and it was performed on Broadway under the new name - The Dark at the Top of the Stairs. After Inge’s theatrical and movie triumphs of Come Back Little Sheba, Bus Stop, and Picnic (which also won him a Purlitzer Prize), this play would be his final success. The Dark at the Top of the Stairs, set in the early 1920’s, tells the story of an Oklahoman family struggling to stay intact despite a mostly-absent and unfaithful husband, Rubin Flood (Tim Decker), and an over-protective lonely wife, Cora Flood (Cheryl Graeff). Central in the story are the couple’s two children, 10-year old Sonny (Edward Heffernan) and the obsessively-shy 16-year old Reenie (Kelly O’Sullivan). Conflicts occur around the planning of a party that Reenie is invited to, but desperately does not want to attend, coupled with a physically abusive argument between the parents. In one poignant scene, Sonny is seen standing at the bottom of the darkened stairway, too scared to go upstairs. As his mother tells him that he needs to overcome his fears and head up to bed, Sonny relays that he is not afraid if someone’s with him. Thus we see the powerful message that the one way to overcome the family’s struggles and fears is by dealing with them together. Performances range from good to exemplary. Decker plays the husband with a believable cowboy swagger, hiding his insecurities underneath his uber-masculinity. O’Sullivan portrays the wall-flower daughter with a solid unsuredness that draws empathy from the audience. The supporting cast greatly assist in making this a powerful ensemble work. Though over-all a fine performance Graeff’s portrayal of the family matriarch lacks the much-needed depth of a woman who is, most of all, a survivor - scheming to keep her family together. Her responses to some of the off-remarks border too much on the side of judgment rather than a controlled or calculated inquisitiveness. The stand-out performance is undoubtedly that of the brooding, insular son, Sonny (Edward Heffernan). Heffernan plays the waifish boy with a mixture of childhood imagination combined with a persona of the observer, taking in the angst around him. Rarely has there been such a stellar youth performance on Chicago’s many stages. The design team for this work has done an exciting job - the living room, in which all of the action takes place, is meticulously assembled, solid furniture pieces placed under a smartly-designed frame arching above the room, a cut-out in the shape of a home, portraying a central theme of the hidden secrets living within seemingly utopian America family life. Costumes are consistently well-placed; the sound design - save for a bit-too-tinny piano - is professionally carried out. Chicago theatre-goers have been blessed this season, through both this production and Strawdog Theatre’s presently-running Come Back Little Sheba, in that we are given the chance to see Inge at the beginning and end of his theatrical successes. Taking in both of these productions will treat you to an example of one of America’s greatest playwrights. Rating: Recommended (3stars) Reviewed by Scotty Zacher [email protected] Hosted by www.Geocities.ws