The actor gives us a dark and determined figure who confidently maintains his composure while seething viciously below the surface.
The announcement of the McCarter Theatre's production of "Baby Doll"--a Tennessee Williams play adapted primarily from a 1956 screenplay by Williams and starring Hollywood leading man Dylan McDermott-- raised two considerable concerns.
The first is that the adaptation by Emily Mann and Pierre Laville would seem like some sort of affected imitation of the great playwright. The second is that its star would prove little more than a handsome face and a marquee name.
Turns out there was little to worry about. This new "Baby Doll" fits comfortably into the dramatic world of Tennessee Williams, rife with suppressed burning desires, dangerous manipulation, and opaque morality. And McDermott is a compelling lead, giving us a dark and determined figure who confidently maintains his composure while seething viciously below the surface.
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Set on a dilapidated plantation in the Mississippi Delta of 1952, "Baby Doll" examines the volatile union of desperation and desire. Archie Lee Meighan (Robert Joy) is a middle-aged farmer and cotton ginner who acquired a teenage wife, Baby Doll (Susannah Hoffman), through a deal with her dying father.
But Archie Lee is also struggling financially -- the new Syndicate Plantation, run by Silva Vacarro (McDermott), has recently built its own cotton gin. When Vacarro's gin burns down under mysterious circumstances, Vacarro arrives at Archie Lee's plantation, deeply suspicious and willing to use the naive Baby Doll as a pawn in his dealings with Archie Lee.
The play is mostly an adaptation of the 1956 film "Baby Doll," which starred Karl Malden, Carroll Baker, and Eli Wallach. Williams -- a serial reviser of his own work -- created the play's characters and story in early one-acts, and revisited them first for the screenplay and then later in his own stage adaptation. Mann and Laville drew material from all these sources in order to create a cohesive arc. The play flows smoothly and coherently, and seems very much the product of Williams rather than latter-day adapters.
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McDermott, Hoffmann, and Joy are joined by Patricia Conolly as Baby Doll's Aunt Rose Comfort. (The show also features Brian McCann in a small role, and one live chicken, appearing twice.) Each performance is at once distinct and essential.
McDermott's Vacarro clearly struggles to subdue a rage built up from years of mistreatment as an ethnic outsider in the South; Joy's Archie Lee does his best to channel all his desperation into courtesy towards this outsider to whom he cannot help but be beholden. As Baby Doll, Hoffmann embodies all the confused energy swirling around an awakening to new and frightening desire.
All this plays out on Edward Pierce's stunning set. The imposingly three-story Meighan home seems to approach dangerously the stage's apron, as if it could collapse on the audience at any moment. Like a dollhouse, its front is missing, but the dolls who populate this house move around freely, always flirting with the potential of toppling out, and all too aware that their circumstances can change with the slightest misstep.
Patrick Maley may be reached at pmaley@njadvancemedia.com. Find NJ.com/Entertainment on Facebook.