One of the great plays of the 20th century retains its vibrancy and bite in a stunning MTC production, headlined by a bravura showing from Nikki Shiels. Written by Tennessee Williams in 1945, A Streetcar Named Desire was first performed on Broadway two years later. Now, here I am, coming up to 80 years on, still extolling its virtues – its muscularity and insight into the human condition, warts and all.
It concerns the trials and tribulations of Blanche DuBois who turns up unannounced, with the impact of a freight train, on her sister Stella’s doorstep. She has travelled from Laurel, Mississippi to the New Orleans French Quarter without money and with a high opinion of herself. With frayed nerves and forever fishing for compliments, she is a high school English teacher, who claims she has taken leave of absence mid-term. But Blanche, who is a heavy drinker, forever toys with the truth, which will out as the play develops.
The former Southern belle is disdainful that Stella has gone low brow. She can’t countenance Stella’s husband, Stanley Kowalski, a straight-talking, loud and rough former soldier of Polish heritage, or their simple, two room home. Blanche tells Stella that she has nothing after being forced from the family residence, the once sprawling plantation Belle Reve, but Stanley Kowalski doesn’t buy it. In the belief that he retains financial control over his wife, Stanley is angry that he’s been cheated out of a hefty inheritance. He begins digging into Blanche’s background.
Meanwhile, his propensity to fly off the handle sees him physically and verbally abuse Stella, who is pregnant. Seeing that, Blanche is desperate to leave with her sister, but a clearly shaken Stella accepts that behaviour as part of her lot. As for Blanche, she is attracted to one of Stanley’s poker-playing buddies, Harold Mitchell, and he to her, although she is keen not to reveal her age. There is steamy sexual chemistry between them, until Stanley’s probing of her dark past comes back to haunt her and her mental health continues to deteriorate.
A Streetcar Named Desire is incendiary theatre, its title drawn from the trolley car on the Desire line that Blanche travels on before arriving at Stella and Stanley’s place. It has been written and plays out in uncompromising fashion, with no beg pardons – the language pointed, that being a major drawcard. The larger-than-life characterisations give it real clout.
The light shines brightly on Nikki Shiels, who is superb – vulnerable, self-absorbed and judgmental as Blanche DuBois. At times wide eyed and open mouthed, Mark Leonard Winter is a powder keg as Stanley, his single-mindedness setting up clash after clash with Blanche. As Stella, Michelle Lim Davidson shows commendable restraint, while the fear in her eyes and body shivers are windows to her soul when Stanley strikes out. Steve Mouzakis transitions Mitch well from doting and respectful to disenchanted and appalled. Katherine Tonkin pulls no punches as Stella and Stanley’s call it like it is upstairs neighbour, Eunice Hubbell, who faces her own episode of domestic violence.
The action takes place inside and outside two apartments, one atop the other, with an outdoor staircase leading to the top floor. With evocative costuming and a sprawling, rotating, two storey set, set and costume designer Mel Page takes us back to fresh post WWII America. The piece is enhanced by Stefan Gregory’s moving score and mood lighting from Niklas Pajanti. With a 10-strong cast, director Anne-Louise Sarks brings back the pain, torment, racism, entitlement and sexuality inherent in a masterful work. Three hours including interval, A Streetcar Named Desire is on at Playhouse, Arts Centre Melbourne until 17th August, 2024.
Alex First
Other reviews you might enjoy:
- A Streetcar Named Desire (Genesian) – theatre review
- A Streetcar Named Desire (Brisbane Arts Theatre) – Theatre Review
- Escaped Alone and What If If Only (MTC) – theatre review
Alex First is a Melbourne based journalist and communications specialist. He contributes to The Blurb on film and theatre.
