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A Streetcar Named Desire

Presented by Hattiloo Theatre at Hattiloo Theatre

September 24-October 11, 2009

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Set in New Orleans following World War Two, Blanche DuBois, exiled from her hometown for seducing a seventeen-year-old boy, shows up at her sister Stella’s doorstep. When Blanche claims she has recently loss the family plantation, Stelle’s boyfriend Stanley demands to see the bill of sale – this sets-off Blanche and Stanley’s war. When Stanley’s friend Mitch arrives on the scene, Blanche begins to see a way out of her predicament. Yet, as rumors of Blanche's past begin to catch up to her, her circumstances become unbearable. Directed by Leslie ‘Stickey’ Reddick. Featuring Hattiloo’s Founder, Ekundayo Bandele, as Stanley Kowalski and Bronzjuan Worthy as Blanche Dubois.

• At-a-
  Glance

  • Venue Info

    Hattiloo Theatre

    656 Marshall
    Memphis, TN 38103-3218

    Full map and directions

  • Admission Info

    Tickets: Thurs.: $18 (Adult), $15 (Senior, Student) , and $10 (Child 12 & under.) Fri./Sat.: $22 (Adult), $18 (Senior, Student, and $10 (Child 12 & under.) Sun.:$18 (Adult), $15 (Senior, Student), $10 (Child 12 & under.) Recession Night October 1, 2009, 7:30pm- all tickets $12.00. Box Office: open Tues- Sat. 10a.m.-1p.m.

    Info Phone: 901-525-0009

    Email

  • Dates & Times

    Dates:
    September 24-October 11, 2009

    Times:
    Thursdays 7:30pm.
    Fridays & Saturdays 8pm.
    Sundays 3pm.

  • Accessibility Info

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  • Member Reviews

    Add review/comment

    • Event Name: A Streetcar Named Desire
      "A Streetcar Named Desire by Billy Pullen ArtsMemphis Rants & Raver"
      Comment posted by: Billy Pullen from Memphis, TN, Oct 03, 2009
      

      An African-American theatre in 2009 that tackles a Tennessee Williams classic about fading Southern aristocracy in 1947 New Orleans might be compared to an all white theatre company tackling... Expand

      An African-American theatre in 2009 that tackles a Tennessee Williams classic about fading Southern aristocracy in 1947 New Orleans might be compared to an all white theatre company tackling Hansberry's A Raisin in the Sun. I could continue with possible analogies, but I'll cease with the observation that both scenarios take some time for audience adjustment and an extension of the suspension of disbelief concept. Director Leslie "Sticky" Reddoch is challenged with a tiny stage that serves as both a blessing and a curse. The claustrophobia of housing an unwelcomed poor relative in a tiny French quarter duplex serves the play well, but pivotal scenes where physical conflict is required such as the famous Stanley Kowalski vs. the radio scene and the notorious rape scene leave...well, much to be desired. The main ingredient missing here in this challenging production is lust or at least the consistency of it. The lecherous quality of Blanche comes through in a brief scene with the young boy collecting for the newspaper, but the chemistry among the four main players is inconsistent. Ekundayo Bandele as Stanley sounds all macho, but never totally convinces as a sensual but assaulting epitome of manhood that Stella (Krissy Cain-Bolden) simply cannot resist. Cain-Bolden is charming in scenes with her older sister, but misfires in scenes with Stanley. The ambivalence of attraction and fear does not evolve. Bronzjuan Worthy as Blanche does emote sensuality, but other elements in that character such as desperation, manipulation, and even pathos are missing. Delvyn Brown's Mitch strikes a likeable note as the more civilized among Stanley's lot, but the sheer tragedy of being deceived by the worldly-wise Blanche is not there. In fact, the downright devastation of both Mitch and Stella as they watch Blanche's delusional exit to an asylum is also lost. Some items that may been influential in these missing poignant moments include awkward blocking. Stanley doesn't have room to really throw a radio out the window with menacing conviction or pitch the old relics from Blanche?s trunk. Nor is there room to "choreographically" wet down the drunken Stanley. Other stage business is diminished during the showdown between Blanche and Stanley, and Blanche's altercation with the nurse. However, the cast, especially Bandele and Worthy, capture most of the lyrical cadence of Williams' masterpiece, but unfortunately much of the animalism is lacking. Collapse

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• Member
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  • Member Reviews

    Add review/comment

    • Event Name: A Streetcar Named Desire
      "A Streetcar Named Desire by Billy Pullen ArtsMemphis Rants & Raver"
      Comment posted by: Billy Pullen from Memphis, TN, Oct 03, 2009
      

      An African-American theatre in 2009 that tackles a Tennessee Williams classic about fading Southern aristocracy in 1947 New Orleans might be compared to an all white theatre company tackling... Expand

      An African-American theatre in 2009 that tackles a Tennessee Williams classic about fading Southern aristocracy in 1947 New Orleans might be compared to an all white theatre company tackling Hansberry's A Raisin in the Sun. I could continue with possible analogies, but I'll cease with the observation that both scenarios take some time for audience adjustment and an extension of the suspension of disbelief concept. Director Leslie "Sticky" Reddoch is challenged with a tiny stage that serves as both a blessing and a curse. The claustrophobia of housing an unwelcomed poor relative in a tiny French quarter duplex serves the play well, but pivotal scenes where physical conflict is required such as the famous Stanley Kowalski vs. the radio scene and the notorious rape scene leave...well, much to be desired. The main ingredient missing here in this challenging production is lust or at least the consistency of it. The lecherous quality of Blanche comes through in a brief scene with the young boy collecting for the newspaper, but the chemistry among the four main players is inconsistent. Ekundayo Bandele as Stanley sounds all macho, but never totally convinces as a sensual but assaulting epitome of manhood that Stella (Krissy Cain-Bolden) simply cannot resist. Cain-Bolden is charming in scenes with her older sister, but misfires in scenes with Stanley. The ambivalence of attraction and fear does not evolve. Bronzjuan Worthy as Blanche does emote sensuality, but other elements in that character such as desperation, manipulation, and even pathos are missing. Delvyn Brown's Mitch strikes a likeable note as the more civilized among Stanley's lot, but the sheer tragedy of being deceived by the worldly-wise Blanche is not there. In fact, the downright devastation of both Mitch and Stella as they watch Blanche's delusional exit to an asylum is also lost. Some items that may been influential in these missing poignant moments include awkward blocking. Stanley doesn't have room to really throw a radio out the window with menacing conviction or pitch the old relics from Blanche?s trunk. Nor is there room to "choreographically" wet down the drunken Stanley. Other stage business is diminished during the showdown between Blanche and Stanley, and Blanche's altercation with the nurse. However, the cast, especially Bandele and Worthy, capture most of the lyrical cadence of Williams' masterpiece, but unfortunately much of the animalism is lacking. Collapse

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