Review: ‘Kind Stranger’ at Zephyr Theatre
- Dondre Tuck
- 2 days ago
- 3 min read
Conceived and performed by Rick Simone-Friedland and adapted and directed by Steven Simone-Friedland, “Kind Stranger” is a one-man memory play built entirely from playwright Tennessee Williams’ 1975 autobiography “Memoirs.”
Set in New Orleans in the early 1970s, the piece moves through the highs and lows of Williams’ later years — the work, the fame that still lingers, the fear that his best days are behind him, and the relationships that both hold him together and pull him apart. What hits hardest is how the production treats memory as identity, and how dignity and friendship start to feel like survival tools when an artist is staring down doubt.
Rick Simone-Friedland portrays Williams with a grounded respect that never turns into an impression. You can feel the care in the choices, from the mannerisms to the pacing to the vocal delivery. The quieter beats land best, when Williams feels like he’s negotiating with himself in real time. Rick Simone-Friedland plays him as a man trying to stay in control of his story while his mind keeps circling back to what shaped him and what is slipping away.
Steven Simone-Friedland’s direction keeps the staging minimal, which works for a memoir like this. The simplicity lets the dialogue do the heavy lifting, but the production still finds smart visual ways to guide the story. A white door becomes a clean projection surface for chapter titles, giving the night structure without clutter. The typewriter onstage reads as more than a prop. It’s a constant reminder that writing is not just what Williams does, it’s what he clings to.
The set design, handled by both Simone-Friedlands, is spare but specific: a white wall framed by red and cream drapes for projections; a wooden side-table reserved for drinks; a small, round table holding a radio, cigarettes, and ashtray; and a desk anchored by the typewriter. Costuming is minimal with Williams portrayed in dress pants, a white tank, a dress shirt and teal suede shoes, plus a few onstage changes that help shift time and mood.
Lighting is also minimal but effective, using green, purple and orange hues to keep the stage visually alive. Sound and projection design by Ed’s Filmworks, Inc. could easily go unnoticed, but their transitions are the subtle glue that keeps everything moving, especially the period radio tunes that add texture between scenes.
At its core, “Kind Stranger” circles memory, chronic depression and one writer’s fear of never again reaching the heights of his past. Paired with alcohol and drug abuse, the portrait of mental health struggles is hard to ignore.
The audience stayed locked in during a recent performance, even as the pacing dragged a bit closer to the end. Tightening those late beats would sharpen the impact, but I still recommend “Kind Stranger” for anyone drawn to intimate, language-driven theatre that isn’t afraid to sit with the cost of making something lasting.
“Kind Stranger” continues through Feb. 7 at the Zephyr Theatre, 7456 Melrose Ave., Los Angeles, with shows Fridays at 8 p.m., Saturdays at 5 p.m. and 8 p.m., and Sundays at 3 p.m. and 7 p.m. For tickets and information, visit ZephyrTheatre.com or KindStrangerPlay.com. Run time is 75 minutes with no intermission.
This was one of the most amazing shows I’ve ever seen as a one person performance. I wasn’t bored for one second I was totally riveted every single second.