Review: 'A STREETCAR NAMED DESIRE' at Theatre 29

Pulling into the hi-desert with a head of steam, clash and clatter is Tennessee Williams' 1947 Pulitzer Prize winning drama "A Streetcar Named Desire".  Theatre 29 has staged a mesmerizing production under the astute direction of Gary Daigneault. The play, featuring Bobbie Breckenridge as the fragile and complex Blanche DuBois, Deacon Ledges as the brutish yet charismatic Stanley Kowalski, and Victoria Shupe as the conflicted Stella Kowalski, offers a compelling exploration of desire, illusion, and the harsh realities of life.

The world audiences are invited into is that of post-war New Orleans, the French Quarter to be precise, where cool jazz, steamy summer southern nights and ever-increasing amounts of alcohol create a heady headwind towards tragedy.  The center of all the action is the two-room apartment of Stanley and Stella Kowalski, whose marital bliss is shattered by the unexpected arrival of Stella’s “big” sister (even though she is younger than Stella.) Blanche DuBois.  This belle’s arrival is the catalyst for long term deceit, delusion and devastation.

Bobbie Breckenridge's portrayal of Blanche is nothing short of awe-inspiring. She brings a nuanced vulnerability to the role, capturing the delicate balance between Blanche's flowingly genteel facade and her underlying brittle desperation. Breckenridge's ability to convey Blanche's mental unraveling is both poignant and distressing, drawing the audience into her character's tumultuous inner world. Her performance is a masterclass in embodying the complexity of a character who is simultaneously pitiable and infuriating.

In stark contrast, Deacon Ledges delivers a powerful performance as Stanley Kowalski. His Stanley is one of raw, animalistic energy that is both captivating and unsettling. Ledges' interpretation of Stanley is unapologetically aggressive, yet he skillfully reveals the character's multifaceted nature, hinting at the vulnerability that lies just beneath his tough exterior. The chemistry between Ledges and Breckenridge is electric, their interactions crackling with tension and intensity, particularly during the play's climactic confrontation.

Victoria Shupe's portrayal of Stella Kowalski provides a vital emotional anchor amidst the chaos. Shupe captures Stella's internal conflict with grace and subtlety, torn between her loyalty to her sister and her love for her husband. Her performance underscores the play's exploration of the complexities of love and loyalty, and she effectively conveys Stella's gradual realization of the harsh truths about her relationships.

Next door neighbors, the Hubbels, portrayed by Sharianne Greer as Eunice and Booker Harrap as Steve, add an outsider point of view to the world of the play.  At times passionate and at times in absolute war with each other, these two had a great chemistry as if they had been working together for years rather than just weeks.  You KNOW these people; you probably live next door to these people.  If you don’t you might BE these people!  Ronald Erickson is the role of Mitch, the working man next door with a heart of gold, was heart-breaking in his own turns.  His burgeoning love for Blanche was palpable, even if truly one-sided. The ensemble added the semblance of wider life happening in the outside world, whether at the poker table, scurrying to work at the crack of dawn or shuffling home after the late shift, Laura Harwood, Joseph Rego, Dennis “Easy” Boos, Greyson Hayles & Britney Vachon-LaGuardia added grace, style and real-world sensibilities to their portrayals however brief.  I have to call out Mr. Hayles “seduction” scene with Stella.  It read in every detail as awkward and wrong as the author intended.  Tremendous job!

Gary Daigneault's direction is both thoughtful and incisive, bringing out the best in his cast while staying true to the essence of Williams' poignant text. Daigneault deftly navigates the play's shifting emotional landscapes, maintaining a taut pace that keeps the audience engaged from start to finish. His attention to detail is evident in the meticulous staging and the seamless integration of set design, lighting, and sound to create an atmosphere that is both oppressively claustrophobic and richly evocative of the play's New Orleans setting.

Daigneault's set design effectively captures the cramped, claustrophobic decaying nature of the Kowalski apartment, serving as a physical manifestation of the characters' entrapment. Nena Jimenez’s lighting design complements this, using shadows and stark contrasts to mirror the play's themes of illusion and reality. This production is the first use of the theatre’s recently installed all LED state of the art lighting system. Ron Bottorff’s sound design, punctuated by the haunting strains of blues music masterfully performed live by trumpet player Matthew Bennett, further immerses the audience in the sultry, volatile atmosphere of the French Quarter.  Tera Bottorff's costume design was efficient and established place, time and status well.

Theatre 29's production of "A Streetcar Named Desire" is a triumph of both performance and direction. This production sets a new standard of excellence for the venue who is more often know for musicals and comedies.  With the audience responses in its opening weekend, it should prove there is an appetite for a tautly told drama. The cast's compelling portrayals, combined with Daigneault's insightful interpretation, breathe new life into Williams' timeless exploration of human fragility and resilience. This production is a must-see for both longtime admirers of the play and newcomers alike, offering a powerful reminder of the enduring impact of Williams' masterpiece.

“A Streetcar Named Desire” will be playing at Theatre 29 Friday and Saturday evenings at 7:00PM and Sunday matinees at 2:30PM through March 16th. Tickets are available at theatre29.org/tickets, by calling (760) 361-4151 or at the door.

Coming up later this season at Theatre 29:

JESUS CHRIST SUPERSTAR – APRIL 18 – MAY 4, 2025 - Lyrics by Tim Rice & Music by Andrew Lloyd Webber – Directed by Charles Harvey:

What’s the buzz? The first musical by Andrew Lloyd Webber and Tim Rice to be produced for the professional stage, Jesus Christ Superstar has wowed audiences for over 50 years. A timeless work, the rock opera is set against the backdrop of an extraordinary and universally known series of events but seen, unusually, through the eyes of Judas Iscariot. Loosely based on the Gospels of Matthew, Mark, Luke and John, Superstar follows the last week of Jesus Christ’s life. The story, told entirely through song, explores the personal relationships and struggles between Jesus, Judas, Mary Magdalene, his disciples, his followers and the power structures of Jerusalem’s elite and the Roman Empire itself. The iconic 1970s rock score contains such well-known numbers as “Superstar,” “I Don’t Know How to Love Him” and “Gethsemane.” RATED 16+ - Adult Themes of violence

AND THEN THERE WERE NONE – APRIL 18 – MAY 4, 2025 - A Murder Mystery by Agatha Christie - Directed by Kathryn Ferguson

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