CONFIRMED: Mescal to bring Frecknall-helmed STREETCAR to New York — Page 12

sinisterteashop: …Poetry doesn't even get to show up for the fight.

This and the report of the drum beats has me starting to second guess my purchase.

The Brooklyn Academy of Music Is Fighting to Regain Its Mojo



https://www.nytimes.com/2025/03/23/arts/bam-brooklyn-academy-of-music.html?unlocked_article_code=1.6E4.jvm5.4GoCqPS4lazY&smid=nytcore-android-share

Melissa: Don't worry. I thought it was stunning .

Updated On: 3/26/25 at 08:06 AM

You can try to sell it on Theatr app for face value.

I bought my ticket to see Mescal (and Streecar, one of my favorites) but left having fallen in love with Patsy.



I think we all forget that Stanley is really a supporting role, but here? Whoosh, I just wanted more of her - which is not to say that I didn't enjoy Mescal, I did.

“Total train wreck ” is hyperbole to the highest degree.

schubox said: "I thought this was…fine? I think I’m over bare stages and minimalistic sets. I miss actual sets. The performances were good overall, but I couldn’t really connect to the piece"

Yeah, it felt like a lot of Acting with a capital A but little connection to real people.

Saw this tonight. As everyone has said, the performances are overall quite strong. However, what struck me was the direction. It is very clear, so clear that you get to understand most of the characters' motivations very well, especially Stanley's. You are reminded very well that Blanche is the only one that sees through Stanley's animal nature, and that Stanley is on a mission to quench that. So unlike many productions where Stanley's motivation is often muddled, Stanley's desire to get back to the status quo in this production is very clearly informed. However, with a direction as clear as this, the drumming, miming, dance pieces, raining...at least 80% of the gimmicks feel superfluous and are more distracting than adding value to the play. It shows a lack of trust in the material, which I find to be the biggest offense of the production.

It is around 2 hr 45 min and they don't start on time. I went on a Sunday with 3 PM curtain and it finished close to 6 PM.

DramaTeach said: "Can anyone provide more info about the run? Am coming from LI and was going to take the train, but they don’t run often and I have to get back for another event. Show starts at 1:30. Will I make a 4:24 train? Was going to drive, but parking also seems iffy. I really don’t want to cancel after waiting in the queue to buy these tickets for so long."

I was getting really worried about this one based on some of the things I read here, but I’m happy to report that this production worked extremely well for me.

Some flourishes felt a little unnecessary at times, but I liked quite a few of the elements that other folks found grating - the drums throughout, the stylized movement of the company, etc. I found the emphasis heightening, not prescriptive.

All three leads were excellent, but particularly Patsy Ferran - she was so three dimensional and raw. And I’m so glad that Paul was as good as I’d hoped he’d be - hope he does more theater.

Just saw the show. It was my first time seeing anything from Tennessee Williams. I went because I really like Paul Mescal. He was fantastic. The real standout, however, was Patsy Ferran. I’ve never seen a performance like that from an actor in the theatre. I imagine she would be a front runner for the Tony if this production was on Broadway.


My one complaint is the drumming. It didn’t add anything for me and it was more of a distraction.

Updated On: 4/5/25 at 04:43 PM