Casting one of Canada's busiest actresses in the plum role of Blanche DuBois as guest artist in this actor-founded, classical company's second season makes box office sense. But some playgoers rightfully wondered why A Streetcar Named Desire was chosen if it could not allow a company member the opportunity to play one of theater's greatest roles. Fiona Reid, Canadian TV-stage star (including nine seasons at the acclaimed Shaw Festival) makes a fine, though not brilliant, Blanche. Nuances in her performance are unique. We suspect that the director, one of Canada's best, was a factor in some of those ideas. Unwittingly, Reid allows shades of Mae West and Ethel Merman to enter Reid's vocal delivery, especially when Blanche's tough defenses shoot up. This they do earlier in the play than in three past productions seen by this writer. Subsequently, the shock of hearing of Blanche's murky past and shady experiences, delusional and factual, is muted. Nevertheless, it's a thoroughly professional performance, which on opening night had yet to ignite.
Stuart Hughes' Stanley, physically and emotionally right on, suggests in some speeches that this blue-collar bully is at least a high school graduate, even a college jock dropout. Hughes' performance leaves more enduring images than his costar. Kristen Thomson's Stella, Stanley's physically and emotionally abused but devoted wife, and Blanche's caring younger sister, emits a whining delivery throughout, creating a less sympathetic character.
Staging and setting harmonize beautifully through multi award-winning Astrid Janson's design of the cramped apartment and courtyard in New Orleans' low class district. More passing streetcars (a terrific directorial touch) could have provided, with prudent placing, greater effect without fears of distraction. Their too infrequent light and sound appearances made us ponder when the next streetcar would come clanking by.
