Review: A STREETCAR NAMED DESIRE at Tennessee Williams Threatre Company

For almost a decade, anticipation has simmered among NOLA theatre enthusiasts, waiting for The Tennessee Williams Theatre Company to tackle one of the playwright’s most iconic works, A STREETCAR NAMED DESIRE, that has left an indelible mark on theatre.

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 mount it. The postponement was not due to a lack of enthusiasm, but out of respect for the work and a commitment to doing it justice.

After a decade of honing their craft, creating bold productions, and elevating Williams’ more unknown works, TWTC presents STREETCAR with the authenticity and intensity it deserves. And it was worth the wait.

Now running through August 4 at the Marigny Opera House, STREETCAR offers audiences a look into the heart of human desire and despair.

The story is no stranger to NOLA, centering on Blanche DuBois, a Southern belle who has suffered personal losses in Mississippi, forcing her to move in with her younger sister, Stella, and Stella’s brutish husband, Stanley.

Despite losing their ancestral home and being in debt, Blanche balks at her sister’s poor lifestyle, living in a cramped apartment on Elysian Fields. Blanche insists on continuing with her arrogant, spoilt manner, taking long baths, wearing fancy clothes and having her sister tend to her every need.

After moving in with the couple, Stanley becomes suspicious of his sister-in-law and why she left Mississippi to come live with them. Uncovering gossip, rumors, and stories, he discovers that the real thing that's lost is Blanche herself. His patience is worn thin, and Stanley and Blanche engage in a battle of wills that will ultimately tear everything asunder.

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

Charlie Carr as Blanche DuBois is refreshing, particularly with the lack of over-the-top hysterics. That type of Blanche has been done and overdone. Carr’s restrained approach brings subtlety and depth to the character, enhancing her tragic fate. While Blanche has always been a popular character, she was never seen as a strong character. 

But this Blanche exudes strength even in the face of circumstance. Having lost her husband and her home and now living in poverty without even so much as 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 façade. Grounded in raw realism, Richmond’s Stanley is a suitable foe for Carr’s Blanche, making his interactions with her more layered and intense. Previous depictions always overplayed Stanley’s aggression and primal nature, that he was always violent no matter what he did. 

But Richmond’s Stanley is a lout who tosses meat to his wife before going off to bowl. He’s a blue-collar worker everyone either knows or has been at some point. When he hits pregnant Stella, the realization of what he is capable of hits harder, creating a more compelling antagonist.

What is far more satisfying with the portrayal of Stanley is that it answers the big question of why Stella stays with him. Portrayed by Elizabeth McCoy in her best role yet, Stella has a deep, complex love for Stanley intertwined with her dependency 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 “anything [she] want[s] to get out of.”

Robinson J. Cyprian plays Mitch, Blanche’s hapless suitor. Both empathetic and endearing, though at times goofier than gallant, Mitch hopes to find a good woman to be his wife so that he won’t have to be alone forever. Blanche seems like a prime candidate until he gets to know her past. His scenes opposite Carr are some of the most poignant in the show.

The excellent supporting cast extends the community of characters, bringing the world of STREETCAR to life with a sense of community and life outside the walls of the Kowalski home. Performances such as these breathe new life into beloved, timeless characters, giving them an added sense of humanity. When the tensions rise at the 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 effectively captured life on Elysian Fields. Steve Schepker’s set involves maximum transparency in creating the cramped downstairs apartment. At the same time, storm shutters, iron stairs and dance poles evoke New Orleans intrigue. Diane Baas’s lighting design cools the otherwise red-hot activity on stage, and Co-Artistic Director Nick Shackleford enhances the sultry atmosphere with simmering jazz.

TWTC fulfills New Orleans theatre enthusiasts’ long-held expectations while redefining them in this highly anticipated production of STREETCAR. Their approach to this iconic play brings a nuanced and gripping portrayal that honors both Williams’ legacy and the contemporary relevance of his work. With a stellar cast, visionary direction, and an evocative design, TWTC delivers a production that is both a tribute to and a reinvention of a classic.

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