Written by Tennessee Williams. Presented by Ground Floor Theatre Company
Short, sharp, and punchy, these three (short) plays are perfect for a late night snack, or a feast for budding actors and playwrights
Reviewed by Justin Clarke
Old Fitz Theatre, Woolloomooloo
Until 15th August, 2025
Tickets: https://www.oldfitztheatre.com.au/three-plays-by-tennessee-williams
Type: Short Plays, Black Comedy, Classic
If you liked: Anything by Tennessee Williams, Research for duologues
Broken dreams of fame, purity against sin, the crippling innocence of youth. Three (Short) Plays by Tennessee Williams, presented as the debut production by Ground Floor Theatre Company features a sprinkling of the famous playwright’s most influential themes. In the hands of three transformative actors, the notions of youth, hope and desperation hit hard, fast and raw in a gripping hour of theatre.
Williams says of his one-act plays that some are, “like firecrackers on a rope,” which if the three presented at the late night slot of the Old Fitz Theatre are anything to go by, rings extraordinarily true. Under Megan Sampson’s direction, we’re presented with At Liberty, Auto-Da-Fe, and This Property is Condemned played with precision and nuance by Helena Cielak, Will Manton and Emma Wright.
It’s a short, sharp and punchy one hour of theatre that is worth your time if you find yourself sitting for dinner at the Old Fitzroy Hotel. Budding actors and playwrights should most definitely seek to see it. Bring your notebooks!
At Liberty
It’s 2.30 in the morning in the Blue Mountain of Missouri when Gloria (Cielack), a struggling young actress comes stumbling home after a night on the town. Her mother (Wright) sits patiently waiting for her, almost ritualistically. This isn’t the first time the two have had the discussion about to unfold. Gloria is ecstatic at seeing her Billboard magazine spot finally featured, as she presents herself as an effervescent actress “At Liberty”.
Wright’s strong Missouri-accented matriarch feels weighted, tired at once again having to bring her daughter back to earth. It seems Gloria’s diminishing health, and the recent gossip surrounding her nights out is not reflecting the reality that they live in.
In a short expanse of time, we see Cielack begin to crumble under the weight of hope and the tortured passion that she is simply unable to achieve. She yearns to be free from obligation, restriction and the confinement of her life – truly to be “at liberty” with herself. Williams captures the poisonous barbs that grow on the hopes of fame and fortune in the toxic allure of Hollywood.
Auto-da-fe
We’re now transported down to New Orleans, specifically in the Vieux Carré (French Quarters) where we meet Eloi (pronounced Ell-wah – Manton), and his mother, Madame Duvenet (Wright) sitting on the front porch of their boarding house.
They are both fanatics, the speech has changed ever so slightly to pick up the more southern drawl. Their language holds the quality of a poetically religious incantation. Eloi’s puritanical beliefs find him often deploring the place he lives in, with Manton’s actions being like a man moving through sludge. Wright on the other hand is laid back but restless as she waves a handkerchief, dabs at her brow and fidgets her fingers on her wooden rocking chair. Unlike her son, she doesn’t hold such strong puritanical beliefs, but she does implore Eloi that his continuous asthmatic attacks are due him not letting his spirit take care of itself.
As more is revealed around the postal of a nude picture in Eloi’s workplace, Sampson digs out Williams’ searing reflection on the fragility of fundamentalism and the weaknesses of men. Manton is staunchly comedic in his fundamentalist Eloi, whereas Wright’s adoration and fear for her son is palpable. It’s a gripping ride over what is just only seven pages of writing.
In the end, Williams’ analogy comes to its climax, and the auto-da-fe in the title burns brightly in what is the peak of the triumvirate of plays.
This Property is Condemned
Finally, we’re in Mississippi with 13-year-old Willie (Cielack) and 16-year-old Tom (Manton) as the two meet whilst walking on the railroad tracks. Condemned is perhaps the most difficult to portray in this trio of work, due to the world-weary characterisation required of Willie by an actor who needs to play both young and aged in a single form. Cielack does this wonderfully but can sometimes teeter on the precipice of success.
What captivates about Condemned is how Williams drops you right into Willie and Tom’s world. The characters are altogether three dimensional, even if the actors don’t quite fill out all the edges.
Willie is a school drop out, an orphan and lives alone in her condemned boarding house with dreams of being a prostitute. Meanwhile, Tom is a boy on the edge of manhood. He comes to the tracks to fly his kite, whilst also often attempting to persuade Willie to give her the services the town gossip is suggesting she carries out on other men.
Condemned is Cielack’s piece, with Wanton’s Tom being a background inquisitor. His apathy towards Willie’s position is bitingly clear in the silences he gives.
We learn of Willie’s sister Alva who ran a boarding house next to the tracks, her main clients being railroad men. We don’t need Willie to explain the situation too deeply as she talks of things the man gave Alva – chocolates, jewellery, nights on the town. The use of “they” implies something much darker for her lost sister. Now, Willie still lives in the condemned property, hiding upstairs when inspectors come, dressing in her sister’s clothes Alva would often wear with the men. She sees the riches that came from them as a means of success and luxury.
Williams’ morbidity in the sharpness of his writing takes a physical presence that is felt as Willie teeters, childlike, on the railway back towards her condemned home, and what we can assume is a condemned life.
Theatre Thought: If you saw this at the Old Fitz, let us know your favourite of the three by leaving a comment below!
Cast and Creative Team
Producing Company: Ground Floor Theatre Company
Playwright: Tennessee Williams
Director: Megan Sampson
Producers: Helena Cielak & Meg Anderson
Stage Manager: Zoe Davis
Production Designer: Meg Anderson
Sound Designer: Maddy Briggs
Lighting Designer: Topaz Marlay-Cole
Voice Coach: Laura Farrell
Cast (of 3): Helena Cielak, Will Manton, Emma Wright
