Theater Review: Oscar winner MarisaTomei returns to Broadway in a rare revival of the TennesseeWilliams play 'The Rose Tattoo'
, which won Anna Magnani a best actress Oscar, proclaims: "Will leave its imprint forever. With the memory of its seething violence! Its lusty drama! Its startling frankness!" Even if the typically emphatic hyperbole of that era's movie marketing oversells it, a disconnect as big as the Gulf of Mexico separates those claims from this wobbly Broadway revival, which tackles the problem of a dated melodrama by playing up the comedy at the expense of any real feeling.
If Cullman was aiming to freeze time in a dream reality, he misses that mark in this tonally helter-skelter production, starting with the eyesore of Mark Wendland's set design with its awkward spatial dynamics. Serafina, gussied up like a proud wife who lives to please her husband, confides in her old apothecary friend Assunta that she's pregnant with their second child. She also confesses to Assunta that hidden beneath his truckload of bananas, Rosario smuggles black-market goods interstate, and his earnings will soon have them living in style in their own house.
All that takes place in an unwieldy first act that culminates with Serafina doing an animal-esque dance to convey her unhinged refusal to play the respectable widow. Tomei certainly commits to the role and doesn't stint on the hot-blooded volatility, but she never seems an ideal fit — and not just because she's not the plump woman described in the script.
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