“Streetcar,” Even Darker Than Usual

Tennessee Williams’ “A Streetcar Named Desire” is almost foolproof. But the production at Williamstown Theatre Festival weakens the dramatic power of this classic American play. Williamstown has converted the Nikos Stage so that it has onstage seating which halves the playing space. Though the Kowalskis’ apartment should feel claustrophobic, the confined set, designed by Collette Pollard, hinders the cast’s movements and creates awkward stage pictures. What is worse, no matter where you sit in the audience, part of the action is blocked due to a large, obtrusive but necessary staircase, and several items of furniture or other set pieces that obstruct vision. Lighting designer Heather Gilbert bathes the show in shadows, which is occasionally effective, but she often uses a lone, bare incandescent light bulb whose glare distracts from the actors, or a single candle that casts little light. “Streetcar” is a dark play, but that need not be taken this literally. The designers’ work, of course, is always done at the behest and approval of the director. David Cromer, who staged an innovative “Our Town” off Broadway several years ago, likes to make ultra-realistic environments meant to heighten a play’s emotional impact. He also believes that bringing the audience closer to the action (including an erotic scene between Stanley and Stella) enhances audience involvement. However, the physical handicaps he has imposed on this production tend to dampen his aims. He has embellished this “Streetcar” with additional business; some of it works, and some does not. For instance, there is the intrusive and unnecessary inclusion of the ghost of Blanche’s young husband who had committed suicide. Perhaps Cromer doesn’t trust the audience to understand the play, nor does he trust Williams. What is interesting is his reshaping of Stanley and Blanche’s characters. Sam Rockwell, who plays Stanley, is not in the Marlon Brando mold of brawn and physical power. Rockwell is small and wiry and his Stanley is more rational and thoughtful than usually seen. Though he’s described by Blanche as “an animal,” he is more arrogant coyote than menacing ape. Jessica Hecht’s Blanche is not as wispy as she is usually played. Here, she is more aware of her reality and she is insidiously manipulative as opposed to the tentative and insecure Blanche portrayed by Jessica Tandy on stage or Vivien Leigh in the film. Hecht’s voice, though sometimes strident, is strong, but she can swallow her words at times, most notably in her exit line, “I have always depended on the kindness of strangers.” The other two major roles, Ana Reeder as Stella and Daniel Stewart Sherman as Mitch, are not as compelling or as well-developed as the two leads. Reeder sounds like a youngster and does not possess Stella’s aura of sexuality. Sherman is a large, affable man, but he lacks Mitch’s sensitivity. For people who do not know “Streetcar,” this production is a satisfactory introduction to the written play, but the physical interpretation undermines one of Tennessee Williams’ and the American theater’s finest works. “A Streetcar Named Desire” runs at the Williamstown Theater Festival in Williamstown, MA, through July3. For tickets call 413-597-3400.