The importance of studying Williams (Keelan W.) 

Unlike my fellow writer, I studied Wilde in sixth form. I can say I’m quite glad I did: pontificating over handbags and cucumber sandwiches was much more pleasant than post-reconstruction depictions of poverty and domestic violence. Even outside of education, I am completely ignorant of Tennessee Williams’s work (and most theatre if I’m being honest). The extent of my knowledge comes from the rants of English students I’m struggling to hold my own with and that one episode of Modern Family where Cam screams ‘Stella!’. So keep that in mind that these are the thoughts of someone who walked in blind to the Mark Hillery Arts Centre that evening.  

Immediately, I was impressed by the production design (Evie Collins) of the stage, costumes (Zara Hossain), and lighting (Leyla Aysan Montoya). The array of props making up the apartment and the costumes really immersed me in the southern gothic setting of 50s New Orleans. At no point did I feel like I was straining to maintain my suspension of belief as characters swigged whisky, played cards, and splayed the contents of a suitcase across the floor (I’ll make an exception for the cigarettes though, I’m sure the porter wouldn’t have been thrilled given the chain smoking exhibited throughout). All of this was complemented by the lighting; its thoughtful use accented the mounting tension, making the atmosphere incredibly enveloping, like a heat-induced fever dream. The diegetic sound design (Heather McManus) brought scenes to life, and the non-diegetic musical accompaniment of piano (Tom Paterson) and trumpet (Sam Armstrong) added depth to the narrative beats. I must note that neither of these aspects overpowered the performances, working in synergy with the actors in both active and subdued scenes.   

Even in such scenes, the stage direction (Lily Gilchrist) provided a kinetic energy to the performance. Despite the majority of the runtime taking place in Stella and Stanley’s apartment, the purposeful movement of the performers and lights captured the liveliness of the setting. When actors walked in on the street setting in front of the stage, a translucent curtain followed them, denoting the bustling nature of New Orleans. It’s a simple but engrossing visual effect, avoiding the overly static presentation of other stage productions I’ve seen.     

…the purposeful movement of the performers and lights captured the liveliness of the setting.

Although I did walk in blind, I was aware of the play’s setting in the deep American south. Knowing this and given the predominance of southern English accents amongst our student population, it’s fair to say that I was going in reasonably skeptical. I’m glad to say that it was ill-placed. The southern drawl came across natural and controlled, never venturing into cartoonish exaggeration. All the performances were brilliant, so it is better to leave Hannah to provide the commentary they deserve, however, I would like to highlight one moment of Roxy Rayward’s performance as Stella in the scene when Stanley (Ollie Cochran) calls for her following his initial violent outbreak. She doesn’t say a word, but her expression spoke a thousand. The fraught conflict between affection and fear on her face as Stanley was wrapped around her, his cries muffled in her dress, was a striking image. It evoked such strong empathy for her character that has stuck with me since.   

She doesn’t say a word, but her expression spoke a thousand.

It was a great experience that has encouraged me to explore more of Williams and keep a keen eye out for the Woodplayers’ next production. I highly recommend those who enjoy live theatre to keep an eye out as well.  

The (supposedly) expert opinion (Rodriguez. H)

Warning: this review was written mid-diss. The author does not take responsibility for any dry, formal or incomprehensibly English-y language.

As someone who did actually study A Streetcar Named Desire by Tennessee Williams, I was impressed by the sophisticated portrayal of such complex characters. None of the actors ever fell into the trap of believing that volume is the secret to a convincing depiction of the rising tensions and tempers in Williams’ work – a belief that is more common than you would think!

Ollie Cochran’s more temperate treatment of Stanley brought new depth to a character that can too easily slide into caricature. His quiet menace heightened the moments of sudden violence that increase throughout the play. His comic focus on the Napoleonic code and Stella’s inheritance is softened to concern instead of outright greed. We can enjoy the humour of his search through Blanche’s things, highlighting his justifiable bafflement at the ‘treasure chest’ of costumes he finds. This Stanley encourages a more balanced, sympathetic response from the audience in the face of Blanche’s classism – until his aggression becomes more overt.

I was impressed by the sophisticated portrayal of such complex characters.

Cochran conveyed Stanley’s outbursts very well – particularly on a student production’s budget! A Streetcar Named Desire is often accompanied by a trail of broken glass and crockery that can make staging it both expensive and risky. The forceful slams and thrown food produced the same effect without the break in verisimilitude that might have been forced by a lengthy clean-up of broken items.

The motif of remembered loss is treated with remarkable sensitivity by both Cillian Knowles and Liv Fancourt, who work to share an intimate moment with the audience. Knowles’ innocence and melancholy as Mitch suited Fancourt’s Blanche, working more effectively than rather bumbling characterisations in other productions.

A particular mention should go to Adheeb Razmi’s performance as the doctor. His code switch into old south gentility is both sad and touching, complementing Blanche’s search for the world of her childhood.

A wonderful detail of staging is that Blanche is the only character to react to the passing streetcar. Fancourt’s flinch at the blares of noise and light couples with the other characters’ indifference to blur the line between environment and internal landscape. You’re left uncertain as to whether the streetcar is, in fact, real or is part of Blanche’s tumultuous inner state. This clever addition introduces a further dreamlike element to this often-surreal play.

You’re left uncertain as to whether the streetcar is, in fact, real or is part of Blanche’s tumultuous inner state.

In conclusion, this was a skilled rendition of a challenging play, and I encourage the Woodplayers to continue to be bold in their choice of productions.

Image: Woodplayers Theatre Company