Butterfly Theatre find some wonderful settings for their pop-up theatre performances, and this one, in the former gin distillery, Milledge’s Distillation, was perfect. In the time-honoured tradition of England’s strolling players, this company, the play’s cast and crew had set up in just over an hour. Credit here, too, to assistant director and stage manager Bonnie McAllister. The production suffered not a bit from that haste. The relatively bare interior of the old distillery enhanced the mood and themes of Tennessee Williams’ most admired play to a high degree.
Many theatregoers are familiar with the play’s narrative. Written in 1947, and set entirely in New Orleans, it brings together Blanche Du Bois, of the faded Old South aristocracy and Stanley Kowalski, a boisterous working class ex-military operative, married to Blanche’s sister Stella. There is much rawness and conflict here, on several fronts, and this well-chosen cast explored that entirely. Director Matthew Chapman ensured a well-devised and well-directed production.
Allison Scharber gave a skilled and moving performance as Blanche. She was entirely convincing as she took the character through her many emotional and mental phases. She used voice, movement and timing to great effect. Her confrontations with Stanley were memorable and it was hard not to believe her when at her most duplicitous, primarily in her dealings with Stella and Mitch, both of whom were readily taken in. She did well to portray faded, indeed fallen, glory and the self-righteousness that can breed.
David Daradan was a force as Stanley. He was by turns brutish, remorseful and sceptical, and was always believable. His violence towards Stella, and their subsequent reconciliation, rang true. He was expert in emotionally dancing around Blanche and teasing out the truth of her past, all the time being faithful to his own social class and straitened surroundings.
Leah Lowe was impressive as Stella, whose loyalty to both her sister and husband was so severely strained. She played the victim of Stanley’s violence in a nuanced and sophisticated way, showing horror when being beaten but, as is so often true, seemed pleased to return to his arms thereafter.
Thomas Midena played the hapless Mitch with admirable empathy. Among a number of essentially unhappy characters, Midena’s Mitch drew at least as much sympathy, possibly because we can see his demise taking place before us.
The other cast members gave great support and successfully built the mood, and indeed drew us into the world of New Orleans of that time. Notable among them, Bonnie McAllister was strong as Eunice, the neighbour, and John Charles was blustering and credible as Steve.
The action took place using the venue to its best, with a convenient balcony overlooking the stage, and a stark bare wall behind the other two sections of the set. It provided the rawness and credibly down-at-heel environment which the play requires. In this intimate setting, where some of the action was played within the audience, we were thoroughly absorbed.
The season was sold out from before opening night, and justifiably so. This is a well-devised and realised production by an adventurous company. It rightly deserves its success.
