Date: Fri 02-Oct-1998

Publication: Bee

Author: SHIRLE

Quick Words:

Streetcar-Brando-Hartford

Full Text:

(rev "Streetcar Named Desire" @Hartford Stage)

Theatre Review--

Hartford's "Streetcar" Doesn't Come Close To Brando's Interpretation

(with cut)

By June April

HARTFORD -- The sultry tones of blues, beautifully sung, faintly filters into

the lobby. Upon entering Hartford Stage one is immediately transported to the

world of Tennessee Williams.

On the second level of the exemplary and eloquent set stands Ceryl Alexander,

crooning and mesmerizing the incoming audience with her splendid

vocalizations. She literally sets the tone for what follows: a play that

explores the suffering ill-fated love can create and the coping struggles

between realists and dreamers. Tennessee Williams' A Streetcar Named Desire ,

in performances now, is the first offering in a multi-year Williams marathon

planned by Hartford Stage Company.

It must be confessed up front that there are, for this reviewer, a few

theatrical experiences that are untouchable. One is Yul Bryner as the King, in

The King and I ; the other is Marlon Brando in his portrayal (both on stage

and screen) of Stanley Kowalski in A Streetcar Named Desire. The thought of

anyone else performing these roles on those levels is personally

inconceivable, although Alec Baldwin did a remarkable interpretation of

Kowalski when he performed at the Ethel Barrymore Theatre in 1992.

Though a recent Hartford Stage audience gave a standing, enthusiastic ovation

at the end of the play, this reviewer came away feeling somewhat less elated

by the experience. Inherent in this reviewer's definition of a successful

production is a sense of involvement by the viewer; a connection to (not

necessarily an identification with) the play, as well as the characters

therein.

The electric chemistry that Brando exuded, and the tensions between the

characters just did not happen in Hartford. There was the sense of being an

observer to a play, not being drawn in.

Granted, Director Michael Wilson intentionally refocused on Blanche's personal

demons, but the sexual tensions felt contrived.

However, strong performances were given by Annalee Jefferies as the

emotionally wounded Blanche DuBois, and a powerfully believable portrayal of

Stella was given by Alyssa Bresnahan. Of all the male roles, Robert Clohessy

as Mitch was most credible, in both posture as well as characterization.

Tennessee Williams won his first Pulitzer Prize for Streetcar , and a second,

years later, for Cat on a Hot Tin Roof. His legacy includes novels, short

stories and poetry as well as some 70 plays. Always controversial nonetheless,

he was recognized by his peers, receiving the Drama Critics Circle Award and

being elected into the prestigious American Academy of Arts and Letter.

For actors, Williams' characters provide a special challenge and are

considered some of the finest opportunities to explore and develop one's

thespian talents. Unfortunately for Connecticut audiences, the talents did not

seem altogether developed in time for this Streetcar .

(Performances continue through October 11 at Hartford Stage, 50 Church Street

in Hartford. For curtain times and ticket prices, call the theatre's box

office, 860/527-5151.)