Lakeside Little Theatre has taken on quite a challenge with its upcoming production, “The Night of the Iguana,” the 1961 drama based on Tennessee Williams’ 1948 short story that revolves around the complex mix of personalities and emotions at the Costa Verde Hotel, in (imaginary) Puerto Barrio on Mexico’s West Coast, during the summer of 1940.
Unsurprisingly, veteran director Dave McIntosh has proved well up to the task. The roles are well cast and include some new faces. With five days of rehearsals yet to run, the production I saw was virtually show ready – no easy feat!
The actors have assumed their roles with impressive conviction; an essential factor in this ever twisting and turning drama, where each character relies heavily on the plausibility of the others for its own credibility, the absence of which has caused even professional productions to fail.
The play opens to designer Rob Stupple’s wonderfully detailed set – a slightly dilapidated hotel with a veranda, surrounded by coastal jungle. The apt soundscape is well applied throughout and the cicadas, tropical rain and thunder enhance the entire experience.
Without giving too much away, the story begins with recently widowed Maxine Faulk who, left with little money, has no option but to keep running the small hotel. Kathleen Morris’ compelling depiction of Maxine is probably her best performance to date.
José Gambino Madrid and Gabriel Casillas are most amusing as lively young employees, Pedro and Pancho. They first appear carrying an iguana that they tie up and leave below the veranda. Maxine says that when it’s fatter, she will cook it for dinner.
The Rev. Dr. T. Lawrence Shannon, a grumpy acquaintance with a colorful past – convincingly and expertly portrayed by Bill McFadden – shows up unexpectedly. “Whoever told you you look all right in tight pants, is not a sincere friend, Maxine!” A former clergyman, now working as a tour guide for Blake Tours of Houston, he’s arbitrarily abandoned his current group of female tourists from Texas.
Self-righteous group leader Miss Fellowes – promising newcomer Jutta McAdam – takes great umbrage at this, leveling accusations at the Reverend, including one linking him to provocative young passenger, Carlota Goodall, nicely portrayed by Abril Iñiguez.
Hank the bus driver – well played by newcomer Clay McAdam – wants to find out what’s happening, before Blake Tours’ company man Jake Latta – a superbly officious Greg Clarke – arrives to take over the interrupted tour.
More tourists appear: penniless painter and sketch artist Hannah Jelkes – exceptionally well characterized by Deborah Kloegman – and her grandfather, wheelchair bound but sartorially elegant Jonathan Coffin – talented former-professional Roger Larson. “Nonno” to his granddaughter Coffin, is aged 97 and the world’s oldest living poet, and is struggling to complete his final work.
The story continues, focusing on the precarious sanity, frustrations and broken dreams of the characters and the unexpected friendship developing between Hannah and Shannon, but the lack of a definitive “ending’” may confuse some. To quote Time Magazine: “Purists of the craft may object that, strictly speaking, ‘The Night of the Iguana’ does not go anywhere. In the deepest sense, it does not need to.”
The cast has very successfully captured and interpreted Williams’ observations on the human condition in LLT’s excellent production.
Stage Manager: Leslie DeCarl. Producer: Kathleen Neal. Set Construction: Richard Bansbach, Jonathan Kollin, Russell Mack, Joel Smith, Terry Soden, Rob Stupple, Nick Van Dinter, Ian White. Set Painting: Alan Bowers, Rob Stupple, Dana Douin, Elizabeth Reinheimer, Linda Ball. Props: Sharon Lowry, Judy Long. Wardrobe: Dona Hall, Phyllis Silverman, Johanna Clark. Lighting: Alan Bowers, Debra Bowers, Rick Bleier. Sound: J.E. Jack, David Hutchinson, Karen Lee. Backstage Crew: Ruth Varnerr-Smith, Sandra Murr. Makeup: Maryanne Gibbard, Sandra McKoy and crew.
Play runs from Friday, February 20 to Sunday, March 1. No performance on Monday, February 23. Tickets: (376) 766 0954. Box office: all show days except Sundays, from one hour before curtain.