With its riveting production of André Previn’s A Streetcar Named Desire, Opera Theatre of Saint Louis has dramatically reinforced its stature as one of the nation’s finest summer festivals.
First, let me state the obvious to anyone who has eyes and ears: Soprano Sara Gartland is a tour de force, and she is giving an overwhelmingly powerful performance as the iconic tragic figure, Blanche DuBois. There is nothing about this multi-layered role that eludes her, and she effortlessly embodies an emotionally frail, former debutante, now penniless and loveless, who inexorably descends into dementia. As flawless and vulnerable as her acting is, this role is a Big Sing, and Ms. Gartland delivers all the goods and then some.
She has a shining, vibrant voice that seems to bloom in every register. She is capable of searing, arching phrases above the staff; hushed, emotion charged dialogue in the lower middle; urgent, desperate chest tones; and limpid, heart-tugging introspective passages that elicit enormous sympathy for the once desirable young woman. In spite of the tragic outcome and the dire situation, she also encompasses fleeting passages that are more cheerily colored, flirtatious, and girlish – all reminders of a happier past. She also embraces Blanche’s deeply troubling libido, and her inability to avoid courting danger. Sara Gartland is a musically superlative, charismatic star, and hers Blanche was a towering, nonpareil achievement.
Laura Snouffer proved to be an equally accomplished Stella Kowalksi, Blanche’s married sister. Ms. Snouffer boasts a creamy, easily produced soprano, that is not only capable of luscious legato singing and soaring beauty, but can also readily dispatch the plentiful conversational writing, with its more angular intervals. Unlike Blanche’s often jittery chatter, Stella’s writing is overall more serene, underlying her happiness with her station in life, and her marriage to her rather boorish husband, Stanley. Ms. Snouffer treads a fine line between trying to support her damaged sister, and standing by her man, and the sweetness and sincerity of her approach makes for a winning characterization.
David Adam Moore was an excellent, brutish Stanley Kowalski, and he found great variety as he explored the duplicitous nature of the role. Mr. Moore certainly has the physique to exude a dangerous sexual appeal, a key element in his interaction with both Blanch and Stella. He also has mined pivotal elements that surprisingly show his emotional dependence on his wife, a telling change from his macho posturing. His anguished, signature cries of “Stella” were pitiable in their utterance. Mr. Moore has an imposing, “present” baritone that is deftly delivered whether in barking staccato phrases or relishing his infrequent rolling melodic passages. He was absolutely chilling in the tense rape scene. Stanley is perhaps the most stereotyped of all these famous parts, and Moore succeeded admirably in making it his own.
Rounding out the leading quartet, Bille Bruley was a superb match to play Harold “Mitch” Mitchell. Mr. Bruley has a ringing, appealing tenor that is a wonderful sound for the sunnier side of Mitch, who seems to be the “nice one” in the pool of toxic masculinity at the poker games. He is enormously appealing in his courtship of Blanche, totally unaware that he is being played. After Stanley puts him wise to her lurid past, he returns to the action to confront her betrayal and unleashes stentorian outbursts that are rafter-shaking in their dramatic intensity. His is a role traversal of great range and dramatic sensitivity.
The smaller parts were also lovingly cast. As the upstairs neighbor, Eunice Hubbell, Ashlyn Brown was possessed of a rich, rounded mezzo-soprano that gave much pleasure; her drudge of a husband, Steve Hubbell, was animated by Landry Allen’s warm, solid tenor. Cole Bellamy lent his solid baritone to his portrayal of Pablo; Edmond Rodriguez’s pleasant youthful tenor was put to good use in the key role of the Young Collector; and Rosario Armas’ darkly appealing mezzo intoned the lines of the Flower Seller to chilling effect. Kim Stanish and Erik DeMario performed the acting roles of the Nurse and the Doctor efficiently.
Patricia Racette has successfully been adding directorial credits to her awesome resume of treasurable soprano performances, and she seems to the manner born. Ms. Racette’s leadership of Streetcar is nothing short of miraculous. Anyone with a pulse that follows the arts knows this famous title and brings expectations to any subsequent performance. It is to her great credit that Racette has brought a plethora of fresh ideas, impressive character development, wondrously crafted physical relationships, and intelligent pacing. She uses the whole stage with great variety of movement, and a keen sense of varied pictures. The nuanced performances that she has elicited from the cast showcased a fruitful artistic collaboration.
Set designer Andrew Boyce has provided a perfect structure, that is both operatically expansive in its height and breadth, and emotionally oppressive in its industrial confinement. I very much liked the floor plan of the apartment, and its homely appointments. If my eye doesn’t deceive me, elements of the set may have been an homage to the famous original design by Jo Mielziner. The ubiquitous Eric Southern has again favored us with a very complex lighting design. There are many famous moments and scenes in this well-traveled piece of theatre, and Mr. Southern didn’t miss a beat in utilizing a panoply of illumination effects in pointing them up. He is assisted in his good efforts by the projection design from Kylee Loera, who from time to time floods the back wall with eerily evocative moving collages that underscore the reality of Blanche’s unraveling mind. Amanda Gladu’s admirable costume design was not only notable for the everyday casual street clothes and work uniforms, but also for the flights of fanciful attire as Blanche raids her trunk to dress up like the belle of old. As all week long, the remarkable wig and makeup designers, Krystal Balleza and Will Vicari have gifted us with their artistry.
In the pit Daniela Candellari worked the players of the Saint Louis Symphony into a musical frenzy, and drew from them a brooding, electrifying reading of Previn’s monster of a score. The orchestra is truly another character in this opera, and all evening long the players provided impressive support and musical commentary. The entire band was top tier, but I was especially appreciative of the many exposed brass licks, that were by turn excitably declamatory and staccato, droopily lurid, and soothingly melodic. All of the solo work was sterling, but it is always a joy to hear such an accomplished saxophonist. Maestra Candellari seems to have taken her cue from the aria, I Want Magic, since that is exactly what her authoritative conducting delivered.
Only the finest companies have the resources to successfully stage this exceedingly challenging work, and Opera Theatre of Saint Louis has totally achieved that feat with this engrossing mounting of A Streetcar Named Desire. Bravi tutti!
James Sohre
A Streetcar Named Desire
Music by André Previn
Libretto by Philip Littell, based on the play by Tennessee Williams
Cast and Production Staff:
Blanche Dubois: Sara Gartland; Eunice Hubbell: Ashlyn Brown; Stella Kowalski: Lauren Snouffer; Stanley Kowalski: David Adam Moore; Steve Hubbell: Landry Allen; Harold “Mitch” Mitchell: Bille Bruley; Pablo: Cole Bellamy; Young Collector: Edmond Rodriguez; Flower Seller: Rosario Armas; Nurse: Kim Stanish; Doctor: Erik DeMario.
Conductor: Daniela Candillari; Director: Patricia Racette; Set Designer: Andrew Boyce; Costume Designer: Amanda Gladu; Projection Designer: Kylee Loera; Lighting Designer: Eric Southern; Wig and Makeup Designers: Krystal Balleza, Will Vicari; Choreographer: Seán Curran.
All photos © Eric Woolsey