* Notes *
Opera San José's 2015-2016 season ends with a musically impressive but dramatically wanting A Streetcar Named Desire (pictured left with Matthew Hanscom, Ariana Strahl, and Stacey Tappan; photograph by Pat Kirk), which opened last weekend. The orchestra has never sounded better and there is much fine singing, but the minimalist production is not completely successful.
André Previn's opera, based on the famous play by Tennessee Williams, first premiered in the Bay Area nearly twenty years ago at San Francisco Opera. The production at San José, designed and directed by Brad Dalton, features a rather bare stage in front of the orchestra. The two rooms are represented by furniture -- a bed, two tables, and eighteen chairs -- that are moved around by seven rough-looking male supernumeraries.
There isn't a good sense of what is inside and what is outside, it isn't clear what the supernumeraries are doing on stage besides changing the set (often unnecessarily, since much of the action simply happens in the same two rooms) and echoing the look of Marlon Brando as Stanley Kowalski in stage and film versions of the play.
The scenes that reference the upstairs of the building are especially problematic. The upstairs neighbor Eunice stands on a chair to represent her calling from above at one point, and at the end of Act I Stanley interacts with Eunice, Blanche, and Stella all upstage, but with him downstage facing the audience.
Dalton also makes use of ghosts, having the young collector played by Xavier Prado stand in for Blanche's ill-fated husband and Teressa Foss (who also is cast as the nurse) wander through as one of Blanche's dead relatives. Perhaps this is to re-enforce how crazy Blanche is, but it was more of a confusing distraction than anything else.
All this said, I do very much appreciate Dalton's creativity, and that he did not simply recreate the well-known set of the play or film. Having the orchestra behind the singers also worked very much in the piece's favor, the playing never overwhelmed the voices.
Maestro Ming Luke had the orchestra sounding cohesive and perfectly in tune. Despite the fact that the conductor was behind the singers, there was hardly any synchronization issues. The screens above the ground floor of the audience used to cue the characters apparently worked very well. The jazzy parts of Previn's music swung and sounded idiomatic.
The singing was excellent. Tenor Kirk Dougherty had the perfect amount of awkwardness for Harold "Mitch" Mitchell, and his scenes with Strahl were convincing. On the other hand, baritone Matthew Hanscom lacked a certain sexual dangerousness for the role of Stanley Kowalski. Though Hanscom's voice is strong, his performance comes off as cartoonish.
Soprano Stacey Tappan (Stella Kowalkski) had a strong Opera San Jose debut, her voice is sweet and her post-coital hum at the end of Act I came off beautifully. Soprano Ariana Strahl also had a fine debut with the role of Blanche DuBois, and sang with a devastating brilliance and incredible ease. Her clarion tones were a wonderful contrast to Tappan's, you could never mistake one for another. In the end the drama does come through in the music, Stahl portrays Blanche's harrowing experiences with conviction, and the performance was satisfying despite the flawed staging.
There was the usual light chatter when the orchestra played but no one was singing.
A watch alarm was heard in the last act.