For the Real Critics Blog
A Streetcar Named Desire: a multi-faceted, intricate piece of literature by Tennessee Williams, produced by Inland Stage Company, is worth the trip, and worth the truth.
The richness of the text yields itself worthy of being seen, especially with one particularly admirable performance; however, the production seemed to lack a certain essential dynamic between the characters -- a dynamic that was removed by choice, to the detriment of the show.
Streetcar is about the cultural collision between Stanley Kowalski, an urban working-class man of passion, violence and control, and Blanche Dubois a refined and fading Southern bell.
As the play unfolds we discover Blanche’s air of sophistication is a mask for her promiscuous lifestyle, perpetuated by the discovery of her first love’s homosexual relationship and resulting suicide.
This clash between their two passions should be manifested and felt throughout the play.
Unfortunately, it was stifled by the choice to focus instead on the uncomfortable awkwardness of having an unwelcomed house guest. Although this is an aspect of the text to be examined, it is not an emotionally deep choice and weakens the conflict of the play.
Additionally, there was the removal of the end of the climactic scene, where Stanley returns home drunk after celebrating the birth of his child only to discover a drunk and fanciful-minded Blanche, who he advances on and rapes.
This final event that sends the misguided and wounded woman over the edge was not seen in Inland Stage’s production -- leaving me, and audience members who might not know the story, perplexed as to why she is being committed to a mental institution in the final scene. Yes, she has obviously had a nervous break down, but why?
Despite the removal of such an important moment, the estimable performance of Rosalyn Leon as Blanche Dubois was engaging.
From an elevated emotional high, to confusion and worn nerves, to drunken tears -- Rosalyn lived Blanche with grace and clarity. Her in-the-moment focus pulled you into her world and the humanity of the drama. With such effort, and her behind-the-scenes hard work obviously in place, it was a shame that the complex relationship layers were stripped away.
On the other hand, John Wesley Leon, portraying Stanley Kowalski, had a put-on casualness in place of realism. He was too likeable. His depiction of Stanley was anything but animalistic, sensual, brutish -- “an ape.” He did not evoke any fear or strong physical presence; perhaps given to the directorial choice to diminish the overriding tension to the simple annoyance of a house guest.
Another shining light, Mary Vuong, captured the authenticity of Eunice’s raw aggression and feral womanliness. Kristofer James was commendable as Mitch; making a clear concentrative transition from the shy, wooing courtier to the deceived, condemning injured soul.
Overall, the true power and impact of the play was lost in the removal of the climactic scene, thus making Stanley just a reasonable, nice guy with a bit of a drinking problem. Nevertheless, this show is worth seeing for the quality of the text and some talented actors deserving of an audience.
"A Streetcar Named Desire" runs through Nov. 7 at the Esplanade Art Center in San Jacinto. Visit www.inlandstage.org for details.
