A STREET CAR NAMED DESIRE at Tennessee Williams Threatre Company

For nearly a decade, theater lovers in NOLA have been eagerly awaiting The Tennessee Williams Theatre Company’s take on one of the playwright’s most iconic works, A STREETCAR NAMED DESIRE, a piece that has left an indelible mark on the theater world.

Known for their innovative interpretations of Williams’ work, TWTC resisted the urge and demand to bring this script to the stage, waiting until they felt truly ready as a company to perform it. The delay was not due to a lack of enthusiasm, but out of respect for the work and a dedication to doing it justice.

After a decade of honing their craft, creating daring productions and elevating Williams’ lesser-known work, TWTC presents STREETCAR with the authenticity and intensity it deserves. And it was worth the wait.

STREETCAR is on view at the Marigny Opera House through August 4, offering audiences a glimpse into the heart of human desire and despair.

The story is familiar to NOLA and centers on Blanche DuBois, a southern beauty who suffers personal losses in Mississippi, forcing her to move in with her younger sister Stella and Stella’s brutal husband Stanley.

Despite the loss of their family home and debts, Blanche rebels against her sister’s poor lifestyle, living in a cramped apartment in Elysian Fields. Blanche insists on continuing her arrogant, spoiled ways, taking long baths, wearing nice clothes, and having her sister provide for her every need.

After moving in with the couple, Stanley begins to distrust his sister-in-law and question why she left Mississippi to live with them. He uncovers gossip, rumors, and stories and discovers that the real loss is Blanche herself. His patience runs out and Stanley and Blanche become embroiled in a battle of wills that will ultimately tear everything apart.

The strength of this production, directed by Co-Artistic Director Augustin J. Correro, is that it honors the familiar intensity of the characters while creating fresh nuances. Williams excelled at writing about people, and here they feel human.

Charlie Carr as Blanche DuBois is refreshing, especially in the lack of over-the-top hysteria. That kind of Blanche has been done before and overdone. Carr’s understated approach brings subtlety and depth to the character, which enhances her tragic fate. Although Blanche has always been a popular character, she has never been seen as a strong one.

But this Blanche exudes strength, even in the face of circumstances. Having lost her husband and her home, and now living in poverty without even a bedroom of her own, Blanche masks her pain with a veneer of sophistication and charm, making her moments of vulnerability or emotional outbursts feel more authentic.

And Stanley, played by Sean Richmond, can see through that facade. Grounded in gritty realism, Richmond’s Stanley is a fitting foe for Carr’s Blanche, making his interactions with her more layered and intense. Previous performances have always overplayed Stanley’s aggression and primal instincts, that he was always violent no matter what he did.

But Stanley from Richmond is a lout who throws meat at his wife before he goes bowling. He is a blue-collar guy everyone knows or has been. When he hits pregnant Stella, the realization of what he can do hits home even harder, creating an even more compelling opponent.

What’s far more satisfying about Stanley’s performance is that it answers the big question of why Stella stays with him. Played by Elizabeth McCoy in her best performance yet, Stella has a deep, complex love for Stanley intertwined with her dependence on his passion for her and the stability he provides. It leaves her trapped in a cycle of affection and fear, but it’s not “something (she) wants to get out of.”

Robinson J. Cyprian plays Mitch, Blanche’s hapless suitor. Both empathetic and endearing, though sometimes more foolish than courteous, Mitch hopes to find a good woman to be his wife so he won’t be alone forever. Blanche seems like a good fit until he learns about her past. His scenes opposite Carr are among the most moving in the series.

The excellent supporting actors expand the community of characters and bring the world of STREETCAR to life with a sense of community and life beyond the walls of the Kowalski house. Performances like these breathe new life into beloved, timeless characters and give them an added sense of humanity. As tensions rise to their peak, the audience experiences a deeper, more visceral connection to the characters’ struggles and emotions.

The world of STREETCAR is imagined through the eyes of a talented team of designers who have effectively captured life in Elysian Fields. Steve Schepker’s set incorporates maximum transparency in creating the cramped downstairs apartment. At the same time, storm shutters, iron staircases and dance poles evoke the intrigue of New Orleans. Diane Baas’ lighting design cools down the otherwise red-hot activity on stage, while co-artistic director Nick Shackleford enhances the sultry atmosphere with simmering jazz.

TWTC fulfills and redefines the long-held expectations of New Orleans theater lovers in this highly anticipated production of STREETCAR. Their approach to this iconic play brings a nuanced and moving interpretation that both honors Williams’ legacy and the contemporary relevance of his work. With a stellar cast, visionary direction, and evocative design, TWTC delivers a production that both honors and reinvents a classic.

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