APPROPRIATE • Tennessee Williams Festival St. Louis

A prolonged trill of cicadas saturates COCA’s Berges Theatre as the house lights are dimmed. It’s an onslaught of sound establishing an immediate unease, before we meet the somewhat estranged siblings of the Lafayette family. They’ve come together to liquidate their late father’s ancestral plantation home in rural Arkansas, where grievances are excavated, and pretensions are prodded.

This setup may sound familiar.

For Obie and Pulitzer Prize-winning playwright Branden Jacobs-Jenkins, the American family drama is one of this country's defining contributions to the world stage, and his play Appropriate bears the thematic fingerprints not only of Tennessee Williams, but also Eugene O'Neill and Tracy Letts. Recipient of the Sundance Institute's inaugural Tennessee Williams Award in 2013, Jacobs-Jenkins premiered Appropriate that same year at the Humana Festival of New American Plays in Louisville, Kentucky. After its Off-Broadway premiere in 2014, Appropriate made its Broadway debut in 2023, where it won three Tony Awards including Best Revival of a Play. For a season themed “The Tennessee Effect,” the festival’s decision to shift from its 11-year tradition of presenting a Tennessee Williams play as its flagship production and instead spotlight Jacobs-Jenkins is inspired.

CAT ON A HOT TIN ROOF • Tennessee Williams Festival St. Louis

TWF’s feature production begins with The Writer, an affably unhurried J. Samuel Davis, making his way down the aisles of the Grandel theatre, addressing the audience with a prologue that’s a combination of the play’s stage direction, and text devised by director Michael Wilson. It’s a clever way to set the scene, literally, as furniture, set decorations and props are brought onstage and placed to the playwright’s clear specifications. Great beginning to some classic Tennessee Williams.

Written in 1955, his Pulitzer Prize-winning three-act takes place over the course of an evening at the Pollitt Family Plantation in the Mississippi Delta, where all of the loved and detested family members are gathered to celebrate Big Daddy’s 65th birthday. This is the perfect setting for Williams to do what he does so well - to lay bare life’s knotty truths, and examine how his characters respond, with no punches pulled.

A STREETCAR NAMED DESIRE • Tennessee Williams Festival St. Louis

Hardly a mention of Tennessee Williams’ 1947 classic can be made without a reference to its iconic film counterpart. Don’t remember the film? Good. It’s better to have a head free of any nagging comparisons, because this production, headlining this year’s third annual Tennessee Williams Festival, stands firmly on its own, with splendid creative touches and stellar performances.

Under a canopy of wooden window frames and clotheslines, Blanche DuBois shows up on the New Orleans doorstep of her sister Stella and her unfriendly brother-in-law Stanley. Escaping her past in Laurel, Mississippi, she’s come to live with Stella and Stanley now that Belle Reve, the family estate, has been lost. As put off as Blanche is with her sister’s dingy downstairs flat, she’s even more displeased with Stanley. His lowbrow poker games clash with Blanche’s highbrow constructions. Stella finds herself stuck in the middle, crazy for her husband but careful to protect her big sister’s mental fragility. Blanche, always leading with her feminine charm, sees nothing wrong with a little harmless fibbing if it bolsters her delicately spun illusions. Stanley, dangerous when brought to anger, has no tolerance for uppity bullshit. Things are bound to come to a head.

THE TWO CHARACTER PLAY • The Midnight Company

“The Two Character Play,” one of the many offerings during this year’s inaugural Tennessee Williams Festival St. Louis, is one of Williams’s later works, and performed in The Learning Center on Westminster Place, formerly known as the Wednesday Club. In the late 1930’s, the Wednesday Club's stage was the home of the Mummers of St. Louis theatre troupe, where a few of Tennessee’s early plays were debuted. It’s poignantly fitting that this play is performed in this creaky old house, where Williams found his beginnings.

Felice (Joe Hanrahan) and Clare (Michelle Hand) are siblings and actors, preparing to perform one of Felice’s own works to, possibly, an audience, in a run-down theatre in a nowhere town. Abandoned by their company, with no home except for the theatre, it doesn’t take long to see signs of damage between these two. Their ex-colleagues called them “insane.” After Felice goes through what seems like a long-practiced ritual of preparing his sister for a performance, the play-within-the-play begins -- about a dysfunctional brother and sister, no less. In the play’s play, the siblings are survivors of a shared childhood trauma that leaves them constantly on a precipice, where the prospect of just leaving their house brings on a burden of apprehension. In some of the humorous moments that are sprinkled throughout, their characters’ lines are forgotten and improvised, and aside from a southern dialect put on for the “performance,” the line between the characters’ plight and the actors’ realities is razor thin to the point of invisibility, with looming shadows left by a confined, stress, drug, and alcohol-addled existence.