Genesian Theatre
By Tennessee Williams
Directed by Tom Massey and Meg Girdler
3.5 out of 5 fans
Streetcar is a really challenging piece of theatre. Thematically, it includes rape, alcoholism, domestic violence. There’s so much packed in and it’s really, really dense. I’ve learned to never expect much from an amateur production (unfortunately, that has been my experience). However, I think the cast and team at Genesian did a fantastic job, and really rose to the challenge given the difficulty of the piece.
A Streetcar Named Desire, made famous (in my opinion) by the film with Marlon Brando, follows Blanche DuBois as she somewhat unexpectedly arrives at her sister Stella’s home in New Orleans under certain mysterious circumstances. She’s obviously not quite well. What follows is a bit of an exploration of her relationship, not just with Stella, but also with Stella’s husband, Stanley, and some of the other folks that she meets in New Orleans. Like Tennessee Williams’ other works, I find the tension comes from the arrival of family, and reaching a boiling point, rather than accelerating toward a particular event. And it is this building of tension and a slow unveiling of Blanche’s recent and distant past that make this a delicious piece of drama.
The Cast
First and foremost, I have to call out Stella (Ali Bendall) for her fantastic portrayal. While the show revolves around Blanche (Georgia Britt, whom I’ll come to in a moment), Stella has to do much of the heavy lifting. She acts as a stable anchor to Blanche’s insanity and Stanley’s anger, and has the unenviable task of humanising these two tempestuous humans. Bendall was grounding and firm, whilst also revealing a vulnerable and raw side to Stella. I was really, really impressed with this portrayal.
I was equally as impressed by Stanley (Riley McNamara). It’s not an easy role, particularly because many of us will refer back to Marlon Brando’s performance and cast (unfair) comparisons. The proof that I was so thoroughly convinced by his Stanley is that, when the cast came out for their curtain call, McNamara was all smiles, and I completely forgot he was an actor playing a role. He had me fully convinced that he was Stanley. For such a complex character, that’s probably not what anyone wants to hear, but kudos to Tom Massey and Meg Girdler for their casting (really, across the board).
On to Blanche (Britt). Blanche Dubois is probably one of the hardest roles in theatre. She is literally a psychological case study, with layers of trauma, dysfunction and delusion. This is a very challenging role, and I think Britt did an admirable job portraying Blanche. Again, the role was famously portrayed by Vivian Leigh, and is considered to be one of the most brilliant performances of all time, so it is hard not to compare (not that its fair). Britt’s Blanche had more denial than delusion, for me; more anxious than unhinged. It was still a masterful performance, it still worked. It just goes to show that this is an incredibly difficult and nuanced roles in theatre. I think Britt is talented, and look forward to seeing what she does next – she obviously does not shy away from a challenge!
The supporting cast was excellent as well, including Mitch (Matthew Doherty), who actually portrayed quite a similar character in Genesian’s Love from a Stranger! Poor Mitch. Doherty made it easy to root for him. And I’ll also call out Eunice Hubbel (Rosie Daly) who brought some of the few lighthearted moments to the show.
I thought that it was a fabulous cast. The play is long. It is a long play, but it didn’t feel long. It actually did feel like the action kept moving along, which is challenging in a play like this because it can feel long. You have to be in the mood to see some serious drama. The topics are serious. This is not a fun play. There’s some moments that you’ll chuckle, some lighter moments, but the topic is heavy, so you need to be kind of like ready for that.
The Production
That’s one of the things I really admire about Genesian is that you kind of know what you’re getting. They do their thing: classical texts that we’re all familiar with. And there is definitely a desire for something like this in Sydney.
I think the only criticism I’d have is possibly unfair, given limitations on budget and space. I find that while the actors did an extraordinary job in building up this constant tension, the lighting perhaps could have helped a bit more to reinforce the feeling of claustrophobia. If I think back to the film, there are many close, tight shots, which really builds on Blanche’s frantic unravelling. I’d have liked to have seen more tight spots on the kitchen table during some of Blanche and Stella’s scenes – to my recollection, the stage was fully lit most of the time. Again, this could just be a limitation of the space, (which is a great incentive to get behind Genesian’s fundraising for a new space!).
Let’s Be Honest
This is a long play. Nearly three hours of running time. Kudos to the cast, because it never ‘felt’ long. However, the combination of it being later in the evening, the warmth and coziness of the Genesian’s space, and the slow burn of tension from the script mayhaps have made my eyes close occasionally*.
This is not at all a reflection of the cast (who maintained a sizzling energy and pace throughout) nor the production! But, I also think it is natural after a long week. I say this because this was my experience watching Streetcar, and I want to give an honest expectation of what your experience might be.
Tennessee Williams’ works are built off of a simmering tension. The subject matter is dark. This may not be for everyone, but I think if you ARE up for an intense drama, a fan of the film, or just curious about a classic that isn’t mounted frequently, I’d encourage you to check this production out.
(*I promise, schedule permitting, to go to a matinee next time!)