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A Streetcar Named Desire by Tennessee Williams Malvern Theatres, April 10 Review by Lee Farley TENNESSEE Williams’ plays are popular at the moment.

Sometimes a playwright speaks to a particular time, a particular circumstance.

We’re in a naturalistic, convincing, modern New Orleans neighbourhood.

As Blanche’s intense breakdown unravels, as she articulates her anguish at being lost in a world that has mistreated her, the production unravels to match.

Georgia Lowe’s set design and Lee Curran’s lighting conjure intimacy, oppression, hot summers, and poverty.

There’s a fantastic, evocative free jazz soundtrack composed by saxophonist Nubya Garcia, part of the UK’s emerging contemporary jazz scene.

Faithful to the realism of the text, but adding aspects of thrillingly inventive practice. The performances are young, muscular, fast-paced, relatable, detailed, enthralling. Amber James’ Stella is torn between maintaining the reality of a life and siding with her sister’s dreaming.

She shows us exactly why she puts up with Patrick Knowles’ aggressive, posturing fratboy Stanley and his unreconstructed, entitled male gaze. Kelly Gough’s Blanche is searching for something meaningful from her relationships, she exposes the cracks in the Kowalski’s marriage and is punished severely for her intrusion.


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