Now, while this is a very good Tennessee Williams play, I think it’s much less compelling than his later, rarely performed rewrite The Eccentricities of a Nightingale. Both tell the story of Alma Winemiller, a minister’s daughter in Glorious Hill, Mississippi in the years before World War I. But Eccentricities gives us an Alma who is noticeably more self-possessed, while in Summer in spite of her best efforts, she is buffeted by the decisions of others.
Eccentricities also cuts a borderline offensive subplot about a Mexican father and daughter, and replaces overheated histrionics with something simpler and more genuinely touching. Thus, when somebody mounts Summer and Smoke, I always feel a momentary pain that they didn’t do the play that both I and Williams himself felt was better. Still, Summer and Smoke is actually a quite solid melodrama, the closest thing to a bodice ripper Williams wrote, while still having the penetrating insight into human psychology that never left him.
Director Jack Cummings III has shorn the play of anything but the most important elements. There are no props, and the actors don’t even mime using them, they just make a single gesture that confirms what the dialogue suggests. Cummings focuses on a fiercely precise rendering of language and characters, two of Williams’s greatest strengths.
This is another one of those plays that has to have a strong performance in the lead role to make sense. Marin Ireland is easily the best Alma I’ve seen, fully understanding that while Alma might not know herself too well, she is otherwise nobody’s fool. We see not only every self-controlling thought but also every uncontrollable emotion, which is truly dazzling and moving – and so Alma.
The play’s action is driven by Alma’s passion for the ne’er-do-well boy next door, young Dr. John Buchanan, who breaks all kinds of rules in the pursuit of pleasure, but feels intensely guilty about doing so. Nathan Darrow has exactly the languid charm needed to give life to this decidedly lost soul. Recommended.
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To learn about Jonathan Warman’s directing work, see jonathanwarman.com.