Riveting revival of ‘Subject was Roses’

Tom Titus

Frank D. Gilroy’s 1964 Pulitzer Prize-winning drama “The Subject Was

Roses” doesn’t get much attention from local theater groups these

days, but when it does, the result usually elicits comments such as

“Why isn’t this play done more often?”

This three-character study of a hopelessly disintegrated familial

relationship may be dated chronologically -- it’s set just after the

end of World War II -- but the themes it raises are timeless. When

mom and dad both are loose cannons, the chances of averting domestic

warfare are slim.

At the Newport Theater Arts Center, where Gilroy’s honored play is

making a rare appearance, director David R. Colley and a flawless

cast have given this tale of tension and regrettable outbursts a most

distinguished 40th birthday party. A standing ovation on opening

night confirmed the impact of this excellent production.

The theme should be celebratory -- a young man (David Farkas) has

returned from the war unscathed and his mother (Andrea La Vela) and

father (David Rousseve) renew their rivalry to gain his favor. Their

own love has been long dormant, for reasons only Gilroy knows, and

he’s not telling, but we suspect this coffee salesman has a history

of brewing up some illicit romance on the road.

At the outset, it’s all fun and games, with the joy of the young

soldier’s safe return shared by both parents. But the petty

insecurities harbored by both adults soon worm their way to the

surface, culminating in the father’s awkward, drunken attempt to

reignite his relationship with his wife.

Rousseve renders a powerful performance as the father, simmering

inwardly until, in the second act, he explodes with vicious and

unreasonable fury. His ability to lash out suddenly then retract

apologetically underscores his conflicted character.

As the repressed, unfulfilled mother, La Vela presents a quite

normal, maternal picture in the early scenes, but her dark, paranoiac

nature soon manifests itself and her mood swings are handled with

skill and dexterity. We sense a romantic love that could be awakened,

but the time and effort required are far too demanding for either

party.

Farkas presents the most normal, collected character of the three,

a tentative boy who has grown into a determined man and -- though he

enjoys the horseplay with his father and the dances with his mother

-- refuses to let either of them assume dominion of his life. As a

young adult, he now comprehends his parents’ squabbles for his favor

and adamantly rejects his former role of pawn in their vicious chess

game.

The unprepossessing Bronx kitchen scene, created by Eckmann State

& Technical, is ideal for the scope of this drama, and Terri Miller

Schmidt’s set dressing and Tom Phillips’ costumes emphasize the

long-ago period.

Named by the New York Drama Critics the best play of the year in

1965, “The Subject Was Roses” has maintained its compelling power to

capture and hold an audience, and the Newport production serves the

play splendidly in all respects.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Fridays.