I’ve have always depended on the kindness of strangers
Tennessee Williams’ A Streetcar Named Desire is set in the decaying French Quarter of New Orleans. It tells the story of Blanche DuBois, her pregnant sister, Stella, and her brutish husband, Stanley Kowalski. When Blanche comes to stay for the summer in Stella’s modest one-bedroom apartment, her refined Southern manner and illusions collide with Stanley’s harsh reality and raw masculinity. The conflict between them escalates after Blanche calls him an ape, and begs Stella to leave. Already fragile after burying family members, and losing her childhood home, Blanche begins to unravel with each confrontation, and her situation worsens when she’s rejected by Stanley’s best friend, Mitch. As the summer temperature rises, and relationships crumble, A Streetcar Named Desire delves into themes of desire, mental illness, homosexuality, and the human condition.
Williams is, without a doubt, a master wordsmith and one of the greatest American playwrights. He knows how to grab an audience’s attention, and his other works, like The Glass Menagerie and Cat on a Hot Tin Roof, explore similar themes of human emotions and Southern life. A Streetcar Named Desire, which opened on Broadway on 3rd December 1947, is no exception. The play was adapted in 1951 into a Hollywood film starring Marlon Brando and Vivien Leigh. It made Brando a movie star.
The Melbourne Theatre Company brings Williams’ classic, “A Streetcar Named Desire,” to life with “vigueur et énergie” and a modern-day twist. It’s directed at a lightning pace with a great deal of humour by Anne Louise Sarks and features a two-storey revolving brutalist set design by Mel Page. This made me, and I suspect the entire audience, feel like voyeurs sitting in the dark following the characters as the set turns. The masterstroke of the casting is Nikki Shiels, the alternate performer in The Picture of Dorian Gray, as Blanche DuBois. She is spellbinding, playing Blanche not quite as fragile as theatergoers would expect, giving her a hard edge and a quirkier disposition. She is the glue that holds the production together. Mark Leonard Winter takes on the role of Stanley Kowalski, and at the preview, it took me a while to warm up to his performance. However, by the second act, as Blanche and Stanley go head to head, he is suitably in control, manly, and explosive.
In this production, Stella is portrayed sympathetically and skillfully by the Asian actor, Michelle Lim Davidson. Davidson was nominated for an AACTA Award for her role in The Newsreader on the ABC. The diverse casting in the production might dismay diehard Tennessee Williams fans. However, theatre is an art form that transcends cultural and racial boundaries, and the casting here gives the play a new perspective, making it relatable to a contemporary audience. The supporting role of Mitch, Stanley’s poker buddy, is played with tenderness and understanding by Steve Mouzakis. His scenes with Blanche, particularly where she invites him in for a nightcap and reveals the truth about her late husband’s death, give the play a little old-fashioned heart. One surprising moment, ‘Lovesong’ by The Cure, is performed live, above the actors, on the top floor of the set. The song adds a modern touch and suitably underscores the aftermath of a fight between Stella and Stanley. The additional music by Stefan Gregory was well done, supporting Blanche’s fantasies and the overall ambience of the production.
With a three-hour running time, “A Streetcar Named Desire” makes for a late-night outing. However, the action and quality of the performance never wane. Tennessee Williams’ ability to write about taboo subjects, create indelible characters, and probe into the murky depth of humanity leaves a lasting impression. Winning the Pulitzer Prize for Drama in 1947, A Streetcar Named Desire remains one of his most enduring works.
PS. The first act is two hours long, so use the bathroom facilities of the Art Centre wisely 🙂
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