‘A Streetcar Named Desire’ review
‘Slick, professional and evocative, there isn’t a moment where Gilchrist’s vision wavers’
Sumptuous and sizzling, Woodplayers’ production of A Streetcar Named Desire is a complete knockout. The entire show is triumphant, with stellar performances across the board and stunning lighting, set and costume design, underscored with pitch-perfect jazz.
The first thing that struck me as I walked into the theatre was the gorgeous lighting (designed by Leyla Aysan Montoya). The headlights of the titular streetcar flash across the stage, before fading up on an apartment lit in dusky blues. New Orleans is painted as sultry, uncertain and dangerous. The lighting choices are bold but never distracting, and are beautifully utilised by Director Lily Gilchrist and Production Manager Evie Collins in long transitions as the characters move from one evening to the next. Striking and moody, you can almost feel the summer heat.
Special mention must be given to the two musicians, Armstrong (on the trumpet) and Paterson (on the piano). The music feels seamless with the show, chiming in at just the right emotional moment and never outstaying its welcome. It also really helps in turning the apartment into a believably liminal space in time, that shifts through multiple months in the blink of an eye.
The direction (Gilchrist assisted by Jaspinder Kaur) is equally well considered as the set. The Kowalski’s apartment is relegated to a relatively cramped platform, and looks delightfully lived-in (thanks to set designers Millie Booth and Faye Hughes), yet the actors move around it with total ease. There’s no need for the audience to suspend their disbelief: it really does feel like these characters live in the space, the movement seeming so casual as props are moved to and from tables that you don’t notice the transitions, speaking to some incredibly well-considered blocking. Outfit changes- of which there are many, are also incredibly well handled, never feeling awkward. It also helps that the costumes (designed by Zara Hossain), are stunning, especially those worn by Blanche. In particular, the beaded gown she wears late in act two is gorgeous and plays off of the lights beautifully.
The performances are universally fantastic. Liv Fancourt as Blanche is nothing short of exceptional. In a notoriously difficult role, she makes every move appear effortless. I was utterly convinced of her fading Southern belle hopes, Fancourt deftly navigating Blanche’s quick shifts from dreamy to desperate, charming to charlatan. There isn’t a moment where she is on stage that she does not command your attention. Roxy Rayward is electric as Blanche’s younger, sweeter sister, Stella. You can’t help but feel for her, Raywood’s soft movements making her seem almost bird-like, girlish but with a subtle brittle quality.
Ollie Cochran brings an impressive menace to Stanley. Every time he enters, the stage is infused with tension. He plays physical violence in a way that never feels excessive, like it milks its own brutality, carefully controlled so that his performance is genuinely frightening without seeming to bask in it. Cillian Knowles has a wonderful vulnerability as Mitch, making the character’s end seem all the more tragic. The ensemble characters also shine, Martha Buttle in particular playing a hilariously brash Eunice. Aside from the few moments where accents get slightly muddy, everyone is at their best.
Slick, professional and evocative, there isn’t a moment where Gilchrist’s vision wavers. Everyone involved should be incredibly proud- A Streetcar Named Desire is undoubtedly a hit.
By Nat Pryke.