A Streetcar Named Desire
'Director, Deborah Edgington's offering of Tennessee Williams’ masterpiece, A Streetcar Named
Desire, proved to be both a deeply passionate and beautifully constructed interpretation.
Edgington, managed to create the intense mood of the piece with a powerful authenticity, central to
the play.'
The Hampshire Chronicle
'Director, Deborah Edgington, brought this challenging play to life and elicited moving and
convincing performances from the entire ensemble.'
The Daily Echo
The full review that appeared in The Hampshire Chronicle (May 2013)
A STREETCAR NAMED DESIRE by Tennessee Williams
Director, Deborah Edgington's offering of Tennessee Williams’ masterpiece, A Streetcar Named Desire, proved to be both a deeply passionate and beautifully constructed interpretation. This is not an easy play to direct. Tennessee Williams gives detailed notes on the set, costumes, even the facial expressions of his characters, and the heady atmosphere of post war New Orleans is integral to the success of any production. Yet director, Edgington, managed to create the intense mood of the piece, with a powerful authenticity, central to the play. The characters move through a set designed by Duncan Wilson that is simple and effective, in costumes beautifully created by Miriam Swanston. They inhabit a world of sweat and heat, a world that is at once lit by the hard reality of the bare light bulb, and the dreamlike quality of an ever increasing nightmare, as Blanche loses her grip on reality and begins to descend into madness. The jazz music and moody lighting designed by Tony Rogers, also helps to create the world of the faded and seedy heart of New Orleans in the late 40s. There are fine performances from all the cast: Connie Cha as Blanche Dubois is touching and vulnerable, with a wonderful command of the southern belle accent. A particular highlight are her scenes with Martin Humphrey as the loyal Harold (Mitch), who also delivers a well-judged performance. Rachel O’Neill is wonderful as the ‘nosey’ but kind-hearted neighbour, Eunice Hubbel. With her husband, Steve, played by Peter Andrews the two of them highlight the comedy that is present in what is a considered foremost to be a tragedy. Lee Ruttle gives a clear and strong performance, as Stanley, whilst Charlotte Gatherer, who plays his wife Stella, gives a moving portrayal as Blanche’s ‘little’ sister. There are also some delightful cameo roles by Simon Irwin as Pablo, Hannah Matheson, who doubles up as the young woman and the nurse, Sam Borthwick as the Young Collector and Martin Bennett as the doctor. The tension begins to mount from the start, and the play benefits greatly from being played in the Chesil’s intimate space. It is a hard and unforgiving play, with moments of extraordinary tenderness that are almost too painful to watch and listen to. But the cast, under the careful and sensitive directorship of Edgington, respond and rise to this challenge in what is a fine production of one of the most beautiful and heart-breaking plays of post-war America.
A STREETCAR NAMED DESIRE by Tennessee Williams
Director, Deborah Edgington's offering of Tennessee Williams’ masterpiece, A Streetcar Named Desire, proved to be both a deeply passionate and beautifully constructed interpretation. This is not an easy play to direct. Tennessee Williams gives detailed notes on the set, costumes, even the facial expressions of his characters, and the heady atmosphere of post war New Orleans is integral to the success of any production. Yet director, Edgington, managed to create the intense mood of the piece, with a powerful authenticity, central to the play. The characters move through a set designed by Duncan Wilson that is simple and effective, in costumes beautifully created by Miriam Swanston. They inhabit a world of sweat and heat, a world that is at once lit by the hard reality of the bare light bulb, and the dreamlike quality of an ever increasing nightmare, as Blanche loses her grip on reality and begins to descend into madness. The jazz music and moody lighting designed by Tony Rogers, also helps to create the world of the faded and seedy heart of New Orleans in the late 40s. There are fine performances from all the cast: Connie Cha as Blanche Dubois is touching and vulnerable, with a wonderful command of the southern belle accent. A particular highlight are her scenes with Martin Humphrey as the loyal Harold (Mitch), who also delivers a well-judged performance. Rachel O’Neill is wonderful as the ‘nosey’ but kind-hearted neighbour, Eunice Hubbel. With her husband, Steve, played by Peter Andrews the two of them highlight the comedy that is present in what is a considered foremost to be a tragedy. Lee Ruttle gives a clear and strong performance, as Stanley, whilst Charlotte Gatherer, who plays his wife Stella, gives a moving portrayal as Blanche’s ‘little’ sister. There are also some delightful cameo roles by Simon Irwin as Pablo, Hannah Matheson, who doubles up as the young woman and the nurse, Sam Borthwick as the Young Collector and Martin Bennett as the doctor. The tension begins to mount from the start, and the play benefits greatly from being played in the Chesil’s intimate space. It is a hard and unforgiving play, with moments of extraordinary tenderness that are almost too painful to watch and listen to. But the cast, under the careful and sensitive directorship of Edgington, respond and rise to this challenge in what is a fine production of one of the most beautiful and heart-breaking plays of post-war America.