Kirsty Stuart is dazzling as Blanche DuBois
This production of Tennessee William’s 1947 play A Streetcar Named Desire originated from the Pitlochry Festival Theatre. Directed by Elizabeth Newman, the story of Blanche DuBois unravels itself around us, as she visits her sister Stella, and her brother in law, Stanley Kowalski, in the sultry heat of the New Orleans summer. As Stella and Stanley personalities clash, and the attraction to one of his friends and colleagues grows, Blanche’s history comes back to haunt her in unforgettable and iconic fashion.
Those who are familiar with the 1951 film adaptation will recall the claustrophobic setting of Stella and Stanley’s cramped apartment, which is brought to life in spectacular fashion here. Pivoting around a spiral staircase, leading to Eunice and Steve Hubbell’s apartment, the stage is set on a circular revolving platform, which smoothly, and disarmingly swiftly, rotates through 3 positions, providing the location for the courtyard, kitchen and bedroom scenes. Cunningly designed by Emily James, the platform floor depicts a vinyl jazz record, complete with grooves and Columbia label. Gorgeously lit by Jeanine Byrne, with rich reds and and blues, the scene is evocative from the outset, transporting us into the oppressive atmosphere.
We meet Blanche, spectacularly portrayed by Kirsty Stuart, with a perfect combination of bolshiness, vanity and fragility, and impeccable accent work. Her sisterly relationship with Stella (played by Nalini Chetty) has a beautiful bickering cadence, with Stella’s baby bump seemingly growing before our very eyes. Both actors also displayed impressively fast costume changes throughout. Conversely, Stella’s relationship with her husband Stanley (Matthew Trevannion) is one based in desire and lust, and there’s palpable chemistry between the actors, adding authenticity. The brutish and menacing character of Stanley is clearly evident, often at full volume which does lose a little of the nuance in his performance. The object of Blanche’s affections, Harold Mitchell (Keith Macpherson) provides a charming contrast, with earnestness and tender air.
This production splits the play into two acts, and whilst it’s clear from a storyline perspective why the split occurs, it did lead to the first act being considerably longer than the second act, feeling slightly sophorific in the warm theatre and basking in the languid Southern drawls.
By contrast, the second act is a taut affair, with the beautifully composed music of Pippa Murphy providing a nerve jangling and discordant air, reflecting Blanche’s state of mind as we progress. This is further enhanced with some well orchestrated backlighting, adding an unique textural element as we reach the climax, and Blanche’s downfall, keeping the audience in rapt attention.
Although very faithful to the film and perhaps more so the original play, newcomers to Streetcar will no doubt enjoy this production as much as those who are returning to it as old friends.