Part of the problem is in the timing. Streetcar originally opened in New York in 1947, with the action being contemporary to the post-war era. The world has changed a great deal in the intervening 59 years, and some of these changes render the play as rather dated (and very politically incorrect) unless the transition is handled with great care.
The stage set by Todd Rosenthal is wonderfully evocative of the time and place, as are the women’s dresses. The men’s costumes, however, seem to be more 1970s or 80s, so that while the women are onstage, you can believe it’s the 40s. When the men appear, you’re jerked right out of that time frame. (I had a hard time with Stanley in a suit and tie. I don’t remember that from any of the previous versions I’ve seen of this play.)
There’s no real impression of hot, steamy weather, either. What there is—and plenty of it—is violence. Lots of violence. Anyone who would stay under the same roof with this Stanley—no matter how wonderful the sex—is asking for trouble. Jason Paul Field needs to loosen up a bit. He makes no attempt to sweet-talk his young wife, Stella. Kelly Mares comes close to capturing her character’s essence as the young, pregnant wife. However, she seems to think she can only love one person at a time—either her husband or her sister.
Hollis Resnick as the sister, Blanche, has too much strength and not enough vulnerability to really be the center of the play. A minor quibble was her blonde hair: it seldom was mussed, regardless of the action, and stayed perfectly dry even when she’d supposedly just shampooed it.
The role of Mitch (Blanche’s possible suitor) was wonderfully done by Lucas Caleb Rooney, who underplayed, for the most part, while exhibiting the best softly-drawling accent of all. Most of the men had no accent at all, while at times the women were nearly incomprehensible.
The centerpiece of the play—the simmering forbidden passion between Stanley and Blanche— never quite got off the ground. From the very beginning, his main emotion was belligerence, which doesn’t provide very fertile ground for passion.
The surrounding company of actors as neighbors and townsfolk were all capable and enjoyable, but they could hardly be expected to generate enough electricity to keep the car on the tracks.
Sound and lighting enhanced the production. We can hope the production will settle in before the run ends on February 5. Next up is Intimate Apparel, which will open on February 7 and run through March 5. For tickets or other information, call (216) 795-7000 or visit the web-site: http://www.ClevelandPlayhouse.com
From Cool Cleveland contributor Kelly Ferjutz hidden-email:NegfJevgre@Nqrycuvn.arg? (:divend:)