The Rose Tattoo is a three-act play written by Tennessee Williams in 1949 and 1950; after its Chicago premiere on December 29, 1950, he made further revisions to the play for its Broadway premiere on February 2, 1951, and its publication by New Directions the following month. [1] A film adaptation was released in 1955. The Rose Tattoo tells the story of an Italian-Americanwidow in Mississippi who has withdrawn from the world after her husband's death and expects her daughter to do the same.
The setting is a place in proximity to Biloxi. Jacob Adler stated that the story is disconnected from the culture of the Southern United States as the plot "has almost no Southern connections".[2]
Background
People originating in Sicily in real life became involved in the fruit industry in the area around New Orleans in the late 1800s,[3] and according to Robert Rea, the playwright had a friend named Marion Black Vaccaro and that the playwright "likely" was aware of how the Vaccaro brothers created their fruit business via said friend.[4]
The play was revived in 1966, again starring Maureen Stapleton, with Maria Tucci replacing Phyllis Love in the role of Rose Delle Rose. Tucci was nominated for the Tony Award for Best Featured Actress in a Play for her performance.[8] The revival ran from November 9 to December 31 at the Billy Rose Theatre (now known as the Nederlander Theatre) with 62 performances under the direction of Milton Katselas. Scenic design was by David R. "Tex" Ballou, costume design by Frank Thompson, lighting designed by Peggy Clark, stage manager Ray Laine, and press representatives Arthur Cantor and Artie Solomon.[9]
The second revival, starring Anthony LaPaglia and Mercedes Ruehl, took place in 1995 from March 23 to April 30, running for 73 performances at the Circle in the Square Theatre with casting by Stuart Howard and Amy Schecter under the direction of Robert Falls. Scenic design was by Santo Loquasto, costume design by Catherine Zuber, lighting design by Kenneth Posner, sound design by John Kilgore, hair and make-up design by Claus Lulla, wig design by John Aitchison, general manager Don Roe, management consultant Gordon G. Forbes, stage manager Peggy Peterson, assistant stage manager Wm. Hare, and dialect coach K. C. Ligon.[10]
New Directions Publishing reissued the play in 2010 with a new introduction by playwright John Patrick Shanley.
For many years critics have looked for possible sources in Italian literature, suggesting such authors as Giovanni Verga or Luigi Pirandello. In 2016 an Italian critic for the first time found the undeniable inspiration for this play in Eduardo De Filippo's 1946 play Filumena Marturano.[14] In the play, that was staged in Rome while the playwright was living in the city in the 1940s, the main character speaks one-to-one with the Madonna of the Roses in the same way that Serafina Delle Rose does in The Rose Tattoo.
Controversy
On May 12, 1957, the Pike Theatre in Dublin, Ireland, staged The Rose Tattoo with Anna Manahan as the lead and the Irish scenic artist Reginald Gray as the set designer. After a short run, the theatre was invaded by the Irish police and director Alan Simpson was arrested for producing "a lewd entertainment" for miming dropping a condom onto the floor. Williams' script calls for a condom to fall out of a pocket during the show but the Pike staging mimed the act, knowing it would cause conflict. An intellectual revolt against the closing of The Rose Tattoo came from not only Ireland but from the continent, led by playwrights Samuel Beckett, Seán O'Casey and Brendan Behan. Simpson was later released. The presiding judge, Justice O'Flynn, ruled: "I can only infer that by arresting the accused, the object would be achieved of closing down the play." One of the results of this case was that any charges brought against theatre would have to be proven before the show could be forced to close.[15]
^Clericuzio, Alessandro (2016). Tennessee Williams and Italy. A Transcultural Perspective. London: Palgrave MacMillan. pp. 114–121.
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Morash, Christopher (2002). A History of Irish Theatre: 1601–2000 (illustrated ed.). Cambridge: Cambridge University Press. p. 322. ISBN978-0-521-64682-6.
