Promise Lives In The Home Of The Queen Of Off-Broadway

By June S. April

WESTPORT — Nearly hidden away in a residential area in Westport is a charming and intriguing little theater called The White Barn. A small white sign suspended from a branch above two country-stone pillars flanking the driveway quietly proclaims its presence, but the theater within sometimes declaims some of the most captivating productions in Fairfield County. This summer, the 54th season, brought to audiences some exciting new works that show great promise, and were delightfully memorable.

Founded in 1947 by the actress Lucille Lortel, the intent of this very off-Broadway theater was, and continues to be, to provide a venue for the development and nurturing of new plays and artistic talents. A modern-day Fairy Godmother of sorts, Ms Lortel’s name is always mentioned with reverence and warmth by all those who had the opportunity of working with her.

To list the kudos received by this grand lady of the theater would take several pages, double-spaced. Sam McCready’s The Bio-Bibliography of Lucille Lortel (Greenwood Press) offers the reasons why the petite woman’s determination and insights into promising people and plays earned her the honorary title “The Queen of Off-Broadway.”

A risk-taker whose gambles often ended-up receiving awards, Lucille Lortel’s innate sense of great theater and remarkable talent has created a legacy of some of the finest playwrights, actors and directors to have graced any stage. There is a small, but impressive, museum adjacent to the theater that exhibits photographs and information about some of those talents who were so generously supported and believed in by this gracious woman. In the center is a glass case with some of many awards she received over the years before she died but in 1999.

Productions that were backed by Lucille Lortel had a certain power; one say Ms Lortel promoted “relevant theater.” Independently wealthy, the benevolent patron of the stage dramatically helped mold meaningful changes in theater as we sometimes experience it today. Her legacy affirms that one person does make a difference.

With the opening of White Barn, Ms Lortel she originated the showcase format. Each production runs one weekend, being performed just four times. Audiences can see works in progress or revisions of older plays.

There were eight productions, plus a gala opening, this season; five of the productions were world premieres.  Particularly outstanding were Deconstructing Mary, The Colossus of Rhodes, From Broadway to Blues and I Knock at the Door.

Focusing on the cabaret format, Carol Woods delivered a richly melodious semi-biographical show in From Blues to Broadway. Contrasted with the collaboration by Mary Testa (the star of Broadway’s popular 42nd Street) and Scott Griffin on the zany and multi visual premiere Deconstructing Mary, these one-woman shows were first-rate and truly outstanding theater.

Sean O’Casey’s I Knock at the Door was adapted for The White Barn by Paul Shyre, and was a remarkable reading by a group of extremely talented actors.

One of the season’s world premieres, The Colossus of Rhodes by Carey Perloff, was an interesting look into the life and times of Cecil Rhodes. It needs some shortening, but it was basically a strong and certainly fascinating play.

One of the reasons for the success of The Colossus of Rhodes came thanks to one particular actor, Sam Tsoutsouvas. This multi-talented thespian was also in another play, Sad Hotel. This was not as strong as some of the other presentations, but Mr Tsoutsouvas’ acting was brilliant in both productions.

An operatic offering, Sacco and Vanzetti, begun by Marc Blitzstein and completed many years later by Leonard Lehrman, proved to be a powerful use of a small stage and fine voices. 

The season’s first and final plays, Tennessee William’s The Day on Which a Man Dies and Sheba, were not on the level of the other shows. The staging for each work was well done and the sets and lighting were very well done, but the plays themselves remain too long and need more work.

The star of Sheba, the actress Donna McKechnie, is so very talented, but she is not the least bit frumpy and she dances beautifully. A musical version of the movie Come Back Little Sheba would best be a case of letting sleeping (or missing) dogs lie.

Each performance is introduced by White Barn’s general manager, Vincent Curcio, who immediately draws the audience into the flavor of whatever show is being presented and offers interesting tidbits about the cast or the history of the production. Technical director Kevin Newton and his crew did an admirable job of lighting for all of the productions, and the charming house manager, Russ Ramsey, was ever helpful before, during and after each play. 

The overall ambiance of the White Barn is of warmth, hospitality and love of fine theater. More information can be garnered from the Web site www.WhiteBarnTheater.org. For next summer and beyond, Lucille Lortel’s White Barn Theater is a place to look to for a more refreshing theater experience than the usual re-runs.