The Rose Tattoo

Published Friday 30 March 2007 at 17:35 by Aleks Sierz

Tennessee Williams described The Rose Tattoo, first staged in 1951, as his “love-play to the world”, and its mix of sunny comedy and sad shadows clearly evoke a sense of passion, loving, betrayal and loss.

Set in New Orleans’ Sicillian community, it tells the story of Serafina who, after her husband’s death, tries to cherish his memory while preventing her daughter, Rosa, from enjoying life. But her frozen heart is melted when Alvaro, a truck driver, stops at her home, and Rosa’s sexuality is awakened by Jack, a sailor.

The untimely death of Steven Pimlott earlier this year means that the direction of this revival has been taken up by his friend Nicholas Hytner. The result, on Mark Thompson’s set, bustles with life, filling the giant Olivier stage not only with Serafina’s gesticulating female neighbours, but with their children as well. A goat appears, twice.

Zoe Wanamaker’s Serafina is a snarling, unkempt mix of slut and vixen. When she learns of love’s betrayal, she visibly carries her disillusionment like a weight. By contrast, Darrell D’Silva’s Alvaro is a brawny, comic presence, and his appearance introduces a welcome note of comedy to the show. His struggle to open a bottle of spumante is a hilarious comment on his manhood.

Susannah Fielding makes her professional debut as the virginal but randy Rosa, and Andrew Langtree is a solid Jack. As in much of Williams’ work, there are moments of metaphoric overload, and the long shadow of his schizophrenic sister Rose often falls across the text. But Hytner’s production stresses the vivacity of this humanistic tale, and is a fitting tribute to Pimlott.