Tucked into a corner of the first floor of the Hildebrandt Building is a lush, vibrant conservatory. For the next few weeks, the factory-turned-arts-hub, with its towering brick smokestack and its raw, industrial interiors, is infused with greenery as it plays host to Seat of the Pants Productions’ season opener.
On the surface, you wouldn’t initially expect that Tennessee Williams’ one-act play, which traditionally takes place in a mansion of Victorian Gothic style, would feel at home in the old meatpacking plant of the Hildebrandt. But “Suddenly Last Summer” is a multi-layered piece where surface assumptions are continuously rebuked, and in this case, the locale only adds to the show’s depth.
In their production of “Suddenly Last Summer,” Seat of the Pants successfully peels back the many layers of symbolism within Williams’ script, using intelligent creative direction and raw performances to craft a transportive, harrowing piece of theater.
The show begins in the wake of a tragedy: Sebastian, a poet from a wealthy family, has died under mysterious circumstances while visiting the fictional island of Cabeza de Lobo. His cousin, Catharine, was a witness to his death, but her disturbing account of the traumatic events has her confined to a mental institution. Sebastian’s mother, Violet Venable, is distraught over the death of her son and determined to preserve his memory; something she cannot do while her niece continues to spread her fantastical story of his demise. Eager to silence Catharine for good, Violet bribes a psychiatrist, Dr. Cukrowicz, with a generous donation to his psychiatric research so long as he performs a lobotomy on her niece. Before he agrees to the procedure, however, Dr. Cukrowicz will hear Catharine’s story for himself.
Penned in 1957, “Suddenly Last Summer” tells a disturbing tale; the playbill’s content advisory warns of descriptions of medical violence, allusions to incest, cannibalism and death, among others. The threat of a forced lobotomy creates a high-stakes rail of tension throughout the show, one that is given greater significance knowing that the playwright penned the show not fifteen years after his own sister and muse was incapacitated by the same procedure. Director Craig Joseph has tapped into that disturbing, sinister rail that feeds the narrative and brought it to life with the help of intentional creatives and emotional performers.
Scenic designer Erin Ocampo utilizes the large, gridded windows of the Hildebrandt Building to represent one wall of the Venable’s conservatory, supplementing it with a fabricated wall set with semi-translucent window panes. The audience sits catty corner of this beautiful, tropical oasis that is dotted with leafy plants, draping vines, cement benches and cast iron seating. Sunny lighting by Micah Harvey and the cheerful twittering of birds by Jacqueline Herter complete the illusion of a warm and peaceful escape. The play takes place in New Orleans in 1936, and costume designer Jenniver Sparano dresses the players in fine dresses, skirts and suits appropriate for the era and social classes.
It all makes for a dashing image–one of sophistication and decorum. But, as the synopsis of the play alludes, this is no cheerful tale. One of its many themes is the exploration of romanticization and reality. The creative team brings this to life alongside the script as the chirping of birds shifts into screeching or the sunny light bleeds into cold purple and blue tones. Details, like the carnivorous plant rendered in the stained-glass transom, become more ominous. Even the fabric and accessories of the costumes, which feature subtle references to flora and fauna, hint at the show’s examinations of humanity’s ultimately primitive nature.
The elderly, cane-wielding Violet does not make for an imposing figure physically, but actress Dede Klein’s performance is chilling. While her frailty coupled with her distress over the loss of Sebastian is at first sympathy-worthy, Violet’s unhealthy attachment to her son and her cut-throat determination to preserve his image are disturbing, menacing and even scary in Klein’s hands.
Also eager to quiet Catharine are her mother, Mrs. Holly, and her brother, George, who are anxious for their portions of Sebastian’s will to be released from probate. Debi Tinsley makes for a distressed and doting Mrs. Holly, while Samuel J. Bartlett is cranky and petulant as George, both adeptly portraying the bickering familiarity of family. Also privy to the gathering are Kate Smith as Violet’s flighty maid, Miss Foxhill, and Amanda Rowe-Van Allen as Catharine’s stern caretaker, Sister Felicity.
In the role of the young psychiatrist tasked by Violet to perform a lobotomy is Daniel Telford. Telford plays the doctor with a charm and a professional ease that is increasingly clouded by indecision. His projection can sometimes resonate too loudly in the echoey space, but it does lend him a commanding air.
Catharine is embodied here by the wonderful Kierstan Kathleen Conway. Like far too many women of history, Catharine’s heightened emotions and strong will are categorized as madness. The abuse and trauma she’s suffered are portrayed by Conway with a sort of fluttery frenzy as she desperately tries to convince others of her lived experience. Conway is captivating, especially as she passionately delivers her penultimate monologue, during which director Joseph employs intriguing, telling behaviors for the rest of the cast.
Seat of the Pants is a site-specific company, staging their shows in unique spaces across Greater Cleveland. Hosting “Suddenly Last Summer” in the repurposed meatpacking plant of the Hildebrandt is not just a unique choice, but a purposeful one that lends the show a dark, gritty atmosphere. The show is full of these thoughtful choices, displaying a deep understanding of the layered symbolism and themes within the script and ultimately crafting a moving, if disturbing, narrative.
Seat of the Pants Productions’ “Suddenly Last Summer” runs through Nov. 1, 2026, at The Hildebrandt Building, 3619 Walton Ave, Cleveland, OH 44113. Visit seatofthepants.org for tickets, $23-38.
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