Theatre Review

Williams’ ‘Streetcar’ gets classic Gamm production

Don Fowler
Posted 9/29/15

Tennessee Williams’ “A Streetcar Named Desire” is without question one of the masterpieces of the American theatre. If you want to see a classic production of Pulitzer Prize-winner play, get on …

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Theatre Review

Williams’ ‘Streetcar’ gets classic Gamm production

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Tennessee Williams’ “A Streetcar Named Desire” is without question one of the masterpieces of the American theatre. If you want to see a classic production of Pulitzer Prize-winner play, get on the phone or Internet right now and make your reservations.

Director Tony Estrella has given us a gutsy, raw, powerful interpretation of the tragic story of Blanche Dubois, complete with all the drama and emotion the play exudes.

Marianna Bassham, who gave such a winning performance recently as Hedda Gabler, is absolutely magnificent as the psychologically and emotionally troubled southern belle, Blanche Dubois. Her range of emotion puts her at the center of conflict, drawing sympathy from the audience, even though she is a flawed individual.

While Bassham is the central character and richly deserves the sustained standing ovation she received at the performance I attended (and I imagine every performance), she is not alone on the Gamm stage. Williams has given us three other characters who play heavily in the drama, and all three of them shine.

Karen Carpenter, a Gamm resident actor with a mile-long list of credits, plays Blanche’s sister, Stella, with a sensitivity seldom seen in the role. Sure, she loves her uncouth husband and the raw sexual desire he creates in her, but she also has feelings and empathy, showing it in many subtle ways.

Anthony Goes has the role of Stanley Kowalski down pat. His manly physical presence fills the stage whenever he appears. He is loud, crude and at times repulsive, his behavior the complete antithesis of Blanche’s. Unlike Blanche, however, there is no pretension. He is what he is, and that’s enough for Stella.

Blanche changes the dynamics of the neighborhood when she walks through the front door, appalled by the Kowlaskis’ lifestyle. She brings with her some deep, dark secrets that are slowly revealed.

Watching the dynamics of the play and the interactions of the characters is a tense experience, as you feel for all the characters. Mitch is the one I cared for the most.

Steve Kidd, another Gamm veteran and acting teacher, can play any role he is handed, and he has played quite a few. In “Streetcar” Mitch is the innocent. He is a bachelor, living with his sick mother, who becomes infatuated with Blanche. She tells him that he is “superior to the others,” boosting his low self-image. When she tells him that she “needs kindness,” he is there to give it to her.

But Mitch has never seen her in the light. The blatant metaphor plays out as Blanche covers the bare lightbulbs and turns off the lights whenever anyone else is in the room.

While most have probably seen the play or the movie (Forget Brando, all he did was mumble his way through his lines), it is well worth seeing it again. I discovered things in Williams’ writing that I had missed in other productions, thanks to the excellent cast and direction.

Credit to Jessica Hill for a clever, functional set that allows for scene changes to occur smoothly, and to David T. Howard’s 1940s costume design.

The addition of four musicians who perform before the play begins and during key moments is further enhanced by their small but necessary roles.

Bravo to Gamm for setting the standard high for the 2015-2016 Rhode Island theatre season. For tickets call 723-4266 or order on line at www.gammtheatre.org.

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