Catch “Streetcar” at Old Town Playhouse

Reviewed by Wayne Erreca (1-11-08) – Record-Eagle newspaper

The provocative and elusive Southern charm of New Orleans has meandered into the Old Town Playhouse, on the poetic stream of American Playwright Tennessee Williams hauntingly seductive classic drama “A Streetcar Named Desire”. It was originally staged on December 3, 1947 at the Ethel Barrymore Theatre on Broadway. Under the brilliant direction of Elia Kazan, it showcased Marlon Brando as Stanley Kowalski, along with Jessica Tandy as Blanche DuBois. Its overwhelming success earned Williams the 1948 Pulitzer Prize and went on to garnish several Academy Awards for the 1951 motion picture, starring Vivien Leigh as Blanche DuBois.

For the past sixty-one years, countless theatres and actors, have attempted to capture the darkly- shaded undertones within the complex characters of the degradingly vulgar Stanley Kowalski and the promiscuously delusional Blanche DuBois. The play opens with the arrival of Blanche (Karen Haspas), with suitcase in hand, bearing a lost forlorn expression, as she enters the small dilapidated quarters of her sister, Stella Kowalski (Jaimien Delp) in New Orleans. Blanche soon reveals that she’s lost the family estate, Belle Reve, and criticizes Stella for abandoning her and the plantation. She’s invited to stay with Stella and her husband, Stanley Kowalski (Dan Mello), within their cramped, dingy dwelling, where only a single blanket hangs as a center divide between the two bedrooms, with a small adequate kitchen, and dining room table.

As soon as you enter the theatre you’re awed by the marvelous set design by Michael Nunn, with art design by Heather Bolton. Their combined creative efforts seal a large percentage of the productions success. Most actors realize the importance of a thoughtfully planned setting, but all directors worth their salt are immensely appreciative for the designer’s expertise. Nunn and Bolton’s design of narrow rectangular wooden shudders on teal blue grimy weathered walls and a second-story wooden exterior staircase, alongside an old firebrick wall, seductively draws you into the hot summer nights of Tennessee Williams ageless masterpiece.

Karen Haspas as Blanche Dubois offers a commanding performance from the moment she steps into the life of Stanley Kowalski, to her eventual departure. As she leaves with a doctor (Lee Rockwell) on her way to a destination she believes to be a Caribbean cruise with Shep Huntleigh, she’s completely convincing as the delusional, drunken waif, who once arrived on a streetcar named Desire. Making her final exit, she calmly turns to the doctor saying, “Whoever you are….I have always depended on the kindness of strangers.” My only advice in conjunction with Haspas’s terrific performance is to continue discovering various emotional levels and implementing additional physical nuances to support them.

Stanley Kowalski is a character embodied by the lingering legendary genius of Marlon Brando and is not easily duplicated. Dan Mello portrays a much gentler and civilized Stanley, one whom is less threatening and sexually charged, or sadistically vulgar. Nevertheless, Mello is consistently brash when he needs to be and always finds his mark at the appropriate time. His dark hair and manly features lend well in allowing the audience to grimace in belief whenever he enters a room. 

Stella Kowalski, evenly played by Jaimien Delp, presents a balanced measure between the various characters. Delp’s steady performance never waivers and her poise and concentration are dauntless. I would enjoy though, seeing her more emotionally charged in her exchanges with Blanche and Stanley. It’s clear to see she’s an actor of depth and ability, with a bright future ahead of her.

Ed Mulcahy as the forlorn Mitch and bowling friend of Stanley, delivers an incredible stylized performance. He definitely didn’t follow the original mold set by Karl Malden, but instead fashioned a more confident and suave Mitch to meet Blanche’s match. Mulcahy’s smooth Southern drawl, spiced with just the right amount of old Dixie charm, garnishes complete focus in every scene he enters. In my opinion, the most magical scene of the play was between Blanche and Mitch at the conclusion of Act One. Mulcahy is as smooth as Southern Comfort, but keeps you delightfully amused, yet sober.

The supporting cast includes: Stuart Mitchell as Steve, Philip Krull as Pablo, Alissa Korson as Eunice, Geoff Wallace as the Collector, Lee Rockwell as the Doctor, and Margaret Mulcahy as the Nurse/Mexican/and Irish Woman were all solid and provided splendid color to the production.

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The Production Staff for this wonderful production includes: Cinder Conlon as Assistant Director, Gary Bolton and Paula Brooks as Producers, Denni Don Hunting as Stage Manager, Sherri Buford as Assistant Stage Manager, Margaret Shaal and Kathy Verstraete’s competent and stylish Costume Designs, Kasey Kilpatrick’ Make-Up, Bernadette Groppuso as Prop Mistress, Don Kuehlhorn’s complimentary Lighting Design, Jeanie Gifford as Lighting Operator, Wizard Roush as Sound Designer, Mike Kelly. Sheri Wallace, Steve Rine, Elizabeth Stuart, Geoff Wallace, and Louis Rodriguez as Stage Crew, Jeff Kroger, Joe Rice, Thomas Webb, Steve Morse, Richard Teubert, Jene Roundtree, Jeff Turner, Jim Shultz, and Brian Klinert as Set Construction Crew, Jeff Curtis as House Manager, and Amy Kloosterman as Marketing and Promotion.

Joe Kilpatrick’s direction is controlled and imaginative, yet allows his cast to explore their individual character’s purpose. Kilpatrick achieved two major goals with this success. First, he’s delivered a first-rate production, and secondly, but most importantly, has reminded all who love theatre, that drama’s offer a creatively rich contribution, which help us to have a more insightful understanding and tolerance of one another. To be entertained is bliss, but to be taught to think is divine. But, then again, as Blanche Dubois says in her smooth Southern drawl, “I don’t want realism. I want magic!”