It took 21 years, but "the right time" finally came for Elizabeth Taylor and Alexandra Del Lago to get together.
The two legendary actresses - one from the real world and one from the fertile imagination of two-time Pulitzer Prize-winning playwright Tennessee Williams - become one Sunday night when the former plays the latter in NBC's production of Williams' Sweet Bird of Youth (8 p.m., Ch. 2).But according to Taylor, Williams himself was thinking about the union more than two decades ago.
"It was 1968," Taylor said earlier this year, "and we were filming the movie `Boom!' (which was based on Williams' "The Milk Train Doesn't Stop Here Anymore") in Sardinia. Tennessee was a very good friend, and we talked about many things."
Including the possibility of Taylor taking a shot at portraying Del Lago, a character that had been effectively played by Geraldine Page in the 1962 film version of the play, but one that could use the star power Taylor brings with her to any role she undertakes.
"I had been fascinated by the character for years," Taylor recalled, "and he said I would be wonderful in the role. But we decided I should wait until it was the right time in my life."
And evidently, the right time is now.
"I felt I needed to grow into the part," Taylor said. "My acting style is very instinctive. I can't always explain what I do, but I try to become the person I'm playing. There's a sadness, despair and lack of control in this part that I used to find terrifying. But once I started I found it was easy and no longer frightening."
That may be because the past 21 years have given Taylor some glimpses into the character of Del Lago that only she could have. Del Lago is an aging movie queen - stop me if any of this starts sounding familiar - who was an entertainment legend very early in her career. But now she's fighting to maintain her celebrity - and finding the going awfully tough. It's so tough, in fact, that she's turning to booze, drugs and sex as possible antidotes for reality.
OK, so maybe the Taylor-Del Lago parallelism breaks down - a little - once you get to the dark side. You have to figure Taylor has a good handle on the "aging actress" and "entertainment legend" stuff. And her well-publicized Gavin Lambert, a Williams crony who adapted the play for the NBC production. "There are lines in the play that describe not only the character, but Taylor herself: a legend, larger-than-life."
Which is ultimately the biggest strength - and the biggest weakness - of this version of "Sweet Bird of Youth." Taylor's proximity to the character helps us buy into it immediately, automatically giving Del Lago a comfortable history and backstory no other actress could bring to the role. Because of that, however, it is difficult for Taylor to lose herself completely in the character. You never really forget that you're watching Elizabeth Taylor, and as a result you kind of lose track of Alexandra Del Lago.
And that's not an easy thing to do in this dark, downbeat Williams story. Set in Palm Beach, Fla., in 1959, "Sweet Bird" opens with Del Lago fleeing the premiere of her "comeback" film, distraught at the audience reaction to her on-screen appearance.
"That first close-up," she says. "I heard them whisper, `Is that really her?"'
Convinced that the movie is a flop and that her superstar status is on the skids, she tries to lose herself in a lurid binge of booze, drugs and sex with a handsome young hunk named Chance Wayne (played by Mark Harmon). Wayne is an aspiring actor, and he uses Del Lago in a last desperate attempt to launch his career, just as Del Lago is using him in an even more desperate attempt to recapture her youth. But rather than find satisfaction in the things they can do for each other, the result of their affair is mistrust, deception and, ultimately, tragedy.
Does it surprise you to learn that there isn't a happy ending here? It shouldn't - especially not if you're familiar with Williams' work ("A Streetcar Named Desire," "Cat on a Hot Tin Roof," "The Glass Menagerie," to name just three). "Sweet Bird" is a powerful adult drama. It's not the kind of drama that is comfortable or easy to watch, since Williams has a tendency to use harshness and immorality to explore the value of gentleness and morality. But you have to admire the brilliance of his craftsmanship (his use of words and moods and characters is impeccable) and the compelling nature of his storytelling.
There is also much to admire in the on-screen performances. Taylor absolutely shines in the role (it's not entirely her fault that all that legendary baggage she carries with her sometimes gets in the audience's way). And while Harmon won't make anyone forget Paul Newman (who played Chance in the film version), his performance is solid - sometimes moving, sometimes not, but always adequate.
Also worth noting is Rip Torn, a veteran of the 1962 film (along with his late wife Page) who turns in another strong character performance as "Boss" Finley, a vindictive local politician who has a personal grudge against Chance. And Valerie Perrine is wonderfully ditzy as Finley's alcoholic mistress.
"Sweet Bird of Youth," with its seaminess and overt sexuality, is not the kind of Sunday night viewing everyone will enjoy. But those who are looking for some sophisticated drama that is well-played artistically and technically will find much to their liking here.
Especially if they like the idea of watching Elizabeth Taylor play a character that is incredibly reminiscent of . . . Elizabeth Taylor.