Playwright: Tennessee Williams; At: Shattered Globe Theatre at Stage 773, 1225 W. Belmont Ave. Phone: 773-327-5252; www.shatteredglobe.org; $18-$34. Runs through: March 11

The Ritz

Playwright: Terrence McNally. At: Circle Theatre, 1010 Madison St., Oak Park. Phone: 708-660-9540; www.circle-theatre.org; $24-$28. Runs through: April 1

Finding links between Tennessee Williams' highly symbolic 1959 Southern drama Orpheus Descending and Terrence McNally's ribald 1974 bathhouse farce The Ritz is certainly a stretch. However, since both are respectively being produced around town now by Shattered Globe Theatre and by Circle Theatre, why not?

Both works are written by significant and openly gay U.S. playwrights of the 20th century, and both explore the plight of outsiders who get caught up in a uncomfortable setting where their lives may or may not be in danger. Also, both plays (or productions) have drawbacks that show why neither work will probably be seen as either playwrights' best work.

In terms of acting, directing and approach to style, Shattered Globe's Orpheus Descending is the more solidly produced show. Director Julieanne Ehre coordinates a large cast that relishes playing Williams alternately gossipy, intolerant or rudderless Southern characters.

Joseph Wiens particularly stands out as the musical drifter Val thanks to his amazing guitar skills and imposing presence. It's easy to see why the town folk are intimidated by Wiens' Val, although you do question why his character decides to seek some constancy with an emotionally crushed and impending Italian widow named Lady (a feisty Eileen Niccolai). Although the town pariah Carol (a touching Heather Townsend) offers Val an escape, it all ends in tragedy.

Where Orpheus Descending become harder to swallow is in Williams' blunt symbolism and flowery dialog. Once again, Williams seems to take great pleasure in showing up the bigotry of the Deep South and destroying his sensitive heroes. Williams covered these plot points and themes elsewhere (and better). Yet, there still is an appeal of seeing Shattered Globe's production since Orpheus Descending doesn't get produced so often.

Also rarely produced is The Ritz, no doubt because a large cast and elaborate set are required. In addition, the squeamishness might scare some audiences away since it's all so sexual and gay with plenty of male torsos on display.

Unfortunately, Circle's Ritz cast, under Bob Knuth's direction, wasn't firing on all comedy cylinders at the final preview I saw, exposing some of McNally's choppy plotting. Hopefully, things will be speedier and funnier as the run progresses.

As straight man Guy Proclo—who unwittingly checks into a bathhouse to avoid a mafia hit—Dennis Schnell is okay, although he could show the stages of his character's shock and realization more clearly. Also just okay is Elizabeth Morgan as the heavily accented Latina songbird Googie Gomez.

In the rest of the ensemble, better supporting work comes from actors Shawn Quinlan, Jordan Phelps, Alexander Sharon, John Cardone and Nicholas Reinhart. Kevin Bellie's floor-show choreography is also a campy delight.

Although not perfect at the final preview, The Ritz also should be seen since it's a period gay rarity that doesn't come around too often.