Laura Stevens
Was 2013 a year of enormous leaps forward for feminism? People around the globe united behind the courageous Malala, politically determined Wendy Davis in Texas and even the refusal of Jennifer Lawrence to adjust her, albeit naturally stunning, body to conform to Hollywood ideals of women. All these achievements, across a huge societal range, indicate, perhaps, that the gender divide is being reduced. But, how is this seen in the world of the theatre? A realm that is known for its capacity to challenge the status quo, does theatre abound with unpredictable and unconventional female characters? Well, even in a fictional landscape it appears some taboos are more entrenched that others – in particular the portrayal of the sexually active older woman.
Tennessee Williams’s The Fat Man’s Wife, written in 1938, has, it is claimed by Canal Café Theatre, the first on-stage “cougar”. A play ahead of its time in depicting a sophisticated Manhattan socialite, Vera, who has to choose between remaining with philandering husband Joe, or running away with young playwright Dennis. A choice it seems between the mundane banality of social niceties, and excitement, travel and adventure.
Set in the aftermath of a New Year’s Eve party on the eve of 1937, this is one of Williams’s short plays that remained unperformed until 2004 when it opened in New York. Vera is played in this new production by Emma Taylor, who comments on the similarities between the 1930s and today’s world: “I think it’s quite fascinating the differences, and yet the similarities, between a woman of a certain age in 2014 and 1937.” While Taylor observes the opportunities to leave an unhappy marriage are far greater now, there is a still a stigma attached to older women dating younger men. As she says: “This has lead to the rise of the cougar, which is obviously a horrible, horrible expression. You have older men marrying and dating younger women for years and years – just double standards really.” The predatory cougar still retains a markedly different cultural status to the suave silver fox, apparently.
Vera does appear to maintain societal norms with her final decision and lament that “It’s too late to announce it in the social columns”, but Taylor delves behind this decision. “Why is my choice as Vera, why is it either Joe or Dennis? Do I have to choose between two men? Could I not just choose to be Vera and go off on my own?” While this play does not take the final option and have Vera striking out on her own in New York, Taylor argues for the impossibility of that occurring in the Depression: “If she weren’t looked after and provided for, well you would kind of be on the streets.” So while her final line to Dennis, “Run along and be good”, sounds patronising, perhaps it is actually Vera retaining some control over her own situation.
Taking on the role of one of Williams’s famously complex female characters is challenging for any actress, but the spotlight is even more intense on this previously unknown character. While the characters of Blanche, Maggie and Amanda loom large, Taylor has tried as far as possible to avoid these theatrical spectres and “see it as a completely separate entity”. When speaking to Taylor, the characterisation was still ongoing, but she commented: “Vera actually has quite an inner strength which isn’t necessarily prevalent in these other female characters, however strong and wonderful they are to act.”
Alongside avoiding Williams’s protagonists’ dominating presence, the show also has to keep a clear head amidst the excitement and pressures of presenting a (UK) premiere performance. While this is a challenge for the production as a whole, Taylor has tried to keep away from the previous creation of her character: “As an actress I don’t really want to think about how, why, where it’s been done before.” Part of this anticipation is also generated by the decision to perform the play in traverse with the audience intimately connected to the performance. As Taylor succinctly comments, “the audience really are voyeurs”. And given the play’s lukewarm critical reception in New York a decade ago, this production is arguably under even more scrutiny to deliver.
Having the opportunity to be a jobbing actor is not a privilege that Taylor considers lightly. Undergoing years of training has led to a position where Taylor can say about her job: “I think is wonderful. It’s your job, it’s not about fame and glory, or awards, it’s just your job.” This determination and drive is what is needed to take on the seemingly ‘saturated’ industry. As Taylor says, the best thing for young and aspiring actors is to “stick with it”.
Undertaking this role in reviving a forgotten play in the Williams canon is hugely exciting and complex. Despite the play being written when social, historical and cultural circumstances were extremely different, the portrayal of a middle-aged woman trapped in a loveless marriage still resonates today. Vera’s dilemma, while over 60 years old, retains its relevance for a culture when the gender divide has decreased but the glass ceiling still retains its invisible hold.
The Fat Man’s Wife is on at Canal Cafe Theatre from 13 February until 2 March. For more information and tickets, visit Canal Cafe Theatre’s website.