This Essay is an excerpt from the 2017 Krewe of Armeinius Ball Program.
“It was just not something you talked about. They could put you away—and they did put people away.” This is how Armeinius member Albert Carey recalls the topic of homosexuality in the 1950s. In a period when attraction to the same sex was considered a symptom of mental illness, Albert remembers, “You couldn’t even breathe the word ‘gay’. I just had the feelings but didn’t have the words.” In 1957, Tennessee Williams changed Albert’s life. When he attended Cat on a Hot Tin Roof at the Civic Theatre, he witnessed a father and a son having a tense but tender conversation about the kinds of feelings Albert had, but which he could not name. Victor Jory’s Big Daddy didn’t care who Brick loved. Having been raised by “two old sisters”, the patriarch was more concerned with the wellbeing and sobriety of his son, played by William Daniels, than who he slept beside.
Albert Carey with TWTC Co-Artistic Directors Augustin J Correro & Nick Shackleford
“The next day I went to the library…and that’s how he saved my life.” Albert began reading everything he could by Williams and other gay writers. It was a revelation. Gradually, Albert would become involved in Gay Mardi Gras, which he’s been a part of ever since. In 2009, he worked with Tim Wolff on the film “Sons of Tennessee Williams”, a documentary on the gay Krewes. According to Albert, Wolff saw Tennessee Williams as the most “out” American of his day, which accounts for the title. To many, Williams was a guide in the 1960s and ‘70s, as the community was coming of age. Williams had already blazed the trail—enduring the barbs and snares and proving it could be done while remaining in one piece. Just like the gay community over the past seventy years, Williams and his works were often dubbed “squalid” and “perverse”. In spite of the harshest criticism, however, the community and Williams pressed forward. Albert has had the pleasure of watching Gay Mardi Gras develop since its outset, now a cultural pearl of New Orleans.
Albert and Tim Wolff don’t simply imagine the connection between Williams and Gay Mardi Gras. Unquesitonably, they both have a unique place in the cultural zeitgeist of the Crescent City. The portrait of the French Quarter in A Streetcar Named Desire is perhaps the most iconic ever drawn. Today, Albert commits to the cultivation of Williams’ theatrical legacy in New Orleans: since its inception, Albert has been a supporter of the Tennessee Williams Theatre Company of New Orleans. TWTC, as it is called for short, is the first theatre company in the country to focus on the works of America’s greatest playwright. Albert sees his support of the company as a debt he’s repaying to Williams. “It’s because of him I realized the beauty of us all. It’s not squalid—it’s not anything that has to be hidden. It can be seen; it can be shown the light of day,” he remarks, reflecting on how Williams enriches his life. Albert now serves on the Board of Directors for TWTC, and he is happy to champion the group which showcases the beauty of Williams’ language, the abundance of his humor, and the bravery to showcase subjects which need to be explored.
TWTC is completing its second season this March and April with The Milk Train Doesn’t Stop Here Anymore starring Janet Shea, playing at the Sanctuary Cultural Arts Center (2525 Burgundy). The company is dedicated to presenting productions which are unique, entertaining, and challenging to its audiences, including less well-known plays by Williams. It engages dozens of local artists each year to present outstanding works for locals and tourists alike. Perhaps most importantly, TWTC strives to reach new audiences, especially those who have had little-to-no exposure to Williams—particularly young audiences. One high school student from Kenner expressed “I never knew Tennessee Williams was like this!” TWTC hopes to reach more students and new theatre-goers each season.
As it continues to grow and to preserve Williams’ enduring legacy, TWTC is honored to count Albert Carey among it supporters both in the audience and in his service to its mission. Perhaps there’s another young person out there who needs to hear Williams’ life-changing words.
Don't forget to grab your tickets to The Milk Train Doesn't Stop Here Anymore by Tennessee Williams, starring Janet Shea, running March 23-April 2 at the Sanctuary Cultural Arts Center!
