Big Bill

Susan Granger’s review of “Big Bill” (Mitzi E. Newhouse Theater, 2003-2004 season)

Back in the 1920s, Bill Tilden, known as Big Bill, was acclaimed as one of the greatest tennis players of all time. A handsome aristocrat from Philadelphia’s Main Line, he won seven U.S. championships and changed the elite country-club game to the sport status of professional athletics. But timing is everything – and Big Bill was a homosexual when that sort of behavior was deemed socially unacceptable. Worse yet, he was a pedophile, fond of underage young men.
It’s altogether appropriate that the thwap…thwap…thwap sounds of tennis balls punctuates Mark Lamos’s production of A.R. Gurney’s perceptive drama which chronicles Big Bill’s secret isolation, self-deception and public humiliation. But it’s the performance of John Michael Higgins in the title role that elevates this melancholy character-study to a “must-see”. Best remembered from Paul Rudnick’s “Jeffrey,” Higgins cleverly captures the complex torment of this flamboyant athlete who never sacrificed either his dignity, his elegance or his charm.
Nostalgically, the story begins in Bill’s youth, when he was dubbed “Junie,” for Junior, not to be confused with his father, a once-successful businessman. Early on, his mother recognized his bachelorhood, steering him toward a career as an antiques dealer. Back then, playing tennis for a living was unacceptable, particularly for an upper middle-class, Anglo-Saxon Protestant (W.A.S.P.) But William Tatem Tilden II was persistent, sacrificing his amateur status.
In supporting roles, Margaret Welsh, Stephen Rowe, David Cromwell, Alex Knold, Michael Esper, Donal Thoms-Capello and Jeremiah Miller are superb, in addition to John Lee Blatty’s grassy set and Jess Goldstein’s costumes. But it’s John Michael Higgins’ portrayal that’s powerful.

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