ST R E E TC A RNAMED DESIREA#HOTStreetcarJanuary 27, 29, 31, 2017 at the Blaisdell Concert Hall

ANDWELCOME TO A STREETCAR NAMED DESIRE.OBJECTS FOR LIFEHonoluluAla Moana Center(808) 947-3789Royal Hawaiian Center(808) 922-5780We are delighted to present AndréPrevin’s transformation of TennesseeWilliams’ classic play in a stunningproduction from New Orleans Opera.Made famous by the 1951 moviedirected by Elia Kazan, and starringVivien Leigh and Marlon Brando, thestoryline is perfect for adapting intoan opera. As The New York Times statedafter the premiere in San Franciscoin 1998: “A Streetcar Named Desire is sooperatic as a play that one wonderswhy more than 50 years have passedsince its Broadway opening with noopera of note being made of it Thenew setting of Tennessee Williams’play, with music by André Previn anda libretto by Philip Littell, answereda few questions and asked others.First of all, it sings very well. Mr. Previnhas a fine ear for voices. He knowshow to flatter and coax it and send itgracefully from one musical episodeto the next . one had the impressionthat Mr. Previn had been writing forthe musical theater all his life.”Our cast includes some welcomereturns to Hawaii including JillGardner (Tosca 2013) as BlancheDuBois, Ryan McKinny (TheDutchman 2015) as Stanley Kowalskiand Victoria Livengood (Azucena2016) as Eunice Hubbell. They arejoined by local favorite Kip Wilborn(Pagliacci 2014) as Steve Hubbell.The production is directed by BradDalton and conducted by MarkMorash from the San FranciscoOpera Merola Program.And we still have two more greatopera productions to come thisseason. In March we will presentAmerican composer Jake Heggie’sopera Three Decembers, starringFrederica von Stade, for whomthe work was created. We arevery excited to be touring thisproduction to the islands of Maui,Hawaii, and Kauai. Our season endswith a spectacular production ofOffenbach’s The Tales of Hoffmann,newly created for HOT by Peter DeanAria3Beck and Adam Larsen, and directedby Henry Akina.As always we are grateful to you,our audience, for attending ourperformances and for the supportyou give us in so many waysthroughout the year. Without yourhelp we simply could not continueto bring the world’s best opera toHawaii each year.But now sit back and enjoy AStreetcar Named Desire!MAHALOHenry G. AkinaArtistic DirectorSimon CrookallGeneral DirectorA Streetcar Named Desire

A Streetcar NamedDesireComposed by André PrevinLibretto by Philip Littell Based on the Play by Tennessee WilliamsCommissioned by San Francisco OperaCASTIn order of vocal appearanceJILL GARDNERBlanche DuBoisRYAN MCKINNYStanley KowalskiCHARLIE MUKAIDA*A Young CollectorVICTORIA LIVENGOODEunice HubbellKIP WILBORNSteve HubbellEDEN-LEE MURRAY*NurseSTACEY TAPPAN*Stella KowalskiRICHARD COX*Harold “Mitch” MitchellDENNIS PROULXDoctor*HOT debutARTISTIC TEAMIn paradise, bad still happens.That’s why First Insurance Company of Hawaii provides quality protection for your home,auto and business. We offer great coverage and rates, and back our policies with localknowledge and efficient claims service. For a free quote, call your independent agent.MARK MORASH*ConductorPETER DEAN BECKLighting DesignerHELEN E. RODGERSCostume DirectorBRAD DALTON*Stage DirectorSTEVEN C. KEMPScenery DesignerORA JEWELL BUSCHEWig & Make-up DesignerJOSÉ MELÉNDEZRehearsal Pianist and CoachJOHANN STEGMEIRCostume DesignerGRETCHEN MUELLERStage*HOT debutHawaii Opera Theatre4AriaAria5A Streetcar Named Desire

SUPERNUMERARIESEric Jabarri CombsRandy EncarnacionProduction Staff ContinuedCharlie MukaidaMichał NowickiAaron OtaKrys RomanczakTristan WilliamsCELLOMark Votapek, PrincipalSun Chan Chang, AssociatePrincipalJoshua NakazawaVIOLIN 2Hung Wu, PrincipalDarel Stark, Associate PrincipalMio Unosawa HerzogTimothy LeongDaniel PadillaNancy Shoop-WuFLUTESusan McGinn, PrincipalClaire Starz Butin, AssociatePrincipalVIOLASteven Flanter, PrincipalAnna Womack, Associate PrincipalJean-Michel JaquonSandra WongOBOEJ. Scott Janusch, PrincipalLindsay Edwards, AssociatePrincipalCostumes for this production are owned by Arizona Opera and were constructed by Arizona Opera Costume Shop.DOUBLE BASSMalcolm Armstrong, PrincipalJohn Gallagher, Associate PrincipalENGLISH HORNLindsay EdwardsBASS TROMBONERudi HoehnSPONSORSCLARINETJames F. Moffitt, PrincipalNorman Foster, Associate PrincipalTUBAT.J. RicerGENHOTAlexander & Baldwin, Inc.SUPERTITLESClifford and Adrienne LauTIMPANIJordan Schifino, PrincipalORCHESTRAThe Cades FoundationHOSPITALITYHalekulani HotelHonolulu ClubBASSOONJoyce Fleck, PrincipalPhilip F. Gottling III, AssociatePrincipalHORNMatthew Berliner, PrincipalColton Hironaka, Associate PrincipalPICCOLO/ALTO FLUTEClaire Starz ButinTRUMPETKenneth Hafner, PrincipalDon Hazzard, Associate PrincipalTROMBONEJason Byerlotzer, PrincipalRudi Hoehn, Associate PrincipalCOSTUME DIRECTORHelen E. RodgersSET DESIGNERSteven C. KempScenery Provided by the NewOrleans Opera AssociationASSISTANT COSTUMEREllie LindholmLIGHTING DESIGNERPeter Dean BeckCOSTUME DESIGNERJohann StegmeirCostumes provided by WashingtonNational Opera, Opera San José,Los Angeles Opera.ASSISTANT STAGE MANAGERSKale OkazakiNa'ia AguirreMASTER CARPENTERAl OmoWIG AND MAKE-UP DESIGNEROra Jewell-BuscheMASTER ELECTRICIANSandy SandelinASSISTANT TO WIG & MAKE UPMASTERKacy ToddMASTER FLYMANE. Kahi LoganSTAGE MANAGERGretchen L MuellerPROP MASTERGen BoyerHawaii Opera TheatreLANAI LECTURESFirst Insurance Company of Hawaii,Ltd.COSTUME TRANSPORTATIONAir Canada CargoSET TRANSPORTATIONPasha HawaiiPERCUSSIONMichael Stubbart, PrincipalCurt Armbruster, Associate PrincipalCELESTAJosé MeléndezORCHESTRA LIBRARIANKim Kiyabu, PrincipalORCHESTRA CONTRACTORColin BelislePRODUCTION STAFFDIRECTOR OF PRODUCTIONT H StettlerSUPERTITLESAnna MacNeillBACKSTAGE SECURITYCOORDINATORMiu Lan OmanScenery & Props for this production were originally designed and created by and for Opera Theatre of Saint Louis. Scenery designed by Erhard Rom.HOT ORCHESTRAVIOLIN 1Ignace Jang, ConcertmasterClaire Sakai Hazzard, AssociateConcertmasterJudy Barrett, AssistantConcertmasterRam GepnerMaile ReevesSheryl ShohetSECURITYKiekie ProductionsSOUND & VIDEOSkye YeeWARDROBE MISTRESSPam GossageSCENIC ARTISTM. Emi YabutaI.A.T.S.E. UNION STEWARDAl Omo, Local 665RUNNING CREWI.A.T.S.E. Local 665“ I don’t wantrealism. Iwant magic!”— Blanche DuBois6AriaAria7A Streetcar Named Desire

Director's Q & AQ: How did your associationwith Streetcar begin?A: My first production originatedat Austin Lyric Opera, where theywanted a less realistic approach.I adapted those ideas for a semistaging accompanied by the LondonSymphony Orchestra, with RenéeFleming as Blanche and André Previnconducting. That version went onto Washington National Opera andlater to Carnegie Hall.Q; This play has certain stage directionsthat are tricky to present – for example, thedrunken Stanley throwing the radio outthe window.A: It’s essential that we witness theviolent side of Stanley. The propsdepartment makes radios out ofwood that can be destroyed eachnight. One of the poker players hasa baseball bat; Stanley grabs thebat from him and smashes the radiowith it onstage. That’s strongerthan having him just toss it out thewindow.Q; What other important directorialdecisions figure in your staging?A: The singer playing the youngnewspaper collector doubles as theghost of Blanche’s young husbandwho died. He actually appears manytimes, but only in Blanche’s mind.For instance, when she’s holding hislove letters to her, he just walks byher, felt but unseen. The payoff isthat later, in her big monologue, thetwo come face to face and she canlook him in the eye and say, “I know.I saw. You disgust me!” as if she werereliving that moment before us.I also have onstage an old relativefrom Belle Reve, who appears at thevery beginning wearing a tiara. Then,at the end, when Blanche is goingcrazy, the old relative reappears anddresses her in an old Victorian gownand places the tiara on her head, asif to say, “Come back, Blanche. Comeback to Belle Reve.”Q; You have a wonderful new treatment ofthe final scene.A: I don’t want to give it away here,but I can say that it does give a senseof where Blanche is headed in theend. You’ll understand that she’llprobably always be in a sanatorium,talking about her gentlemen callers.Whether you’re seeing TennesseeWilliams’s play or André Previn’sopera, it’s hard to imagine anaudience not feeling deeply forBlanche.People want her to survive. Everyonecan relate to that sense of injury,whether from some moment inour childhood, from our parents,or in our development as humanbeings. We have our inner versionof ourselves that always feelsunderappreciated, misunderstood,and we long to express ourselvesemotionally and completely, yetsomething in the world batters usdown and holds it back. Blanche isAria9trying to remake herself. Maybe she’slying about her past, but she triesto live civilly -- as an English teacherwho knows poetry and manners -- tocreate a harmless illusion.If Stanley hadn’t looked intoBlanche’s past, she probably wouldhave married Mitch, but he had tolook back into her past and thenconfront her cruelly. Mitch throwsher out, so there she is, trying tohang on to everything -- this illusionshe wants to present.Q; Stella becomes a more vibrant andcomplicated figure in the opera.A: Growing up at Belle Reve wasfull of trauma for Stella, and I thinkshe simply ran away from thatworld of propriety and manners-- from Blanche standing by the oldrelatives, staying with them untilthey died. The opposite of that, ofcourse, is desire. Stella doesn’t mindgetting down and dirty. “Why do youlive in this place? It’s horrible,” saysBlanche. The answer is, “I live herebecause this is who we are. You don’tknow that yet?”From a conversation between Brad Dalton,director of A Streetcar Named Desire, and RogerPines, the dramaturge for Lyric Opera of Chicago.February, 2013A Streetcar Named Desire

ASTREETCARNAMEDDESIRESynopsisACT IACT IIScene 1Blanche DuBois has suffered the loss of both her ancestralhome and her job when she arrives in New Orleans to visither sister, Stella, who has married Stanley Kowalski, anex-GI trucker.Scene 1. Some weeks laterStanley tells Stella that he has afriend who is making inquiries aboutBlanche in her hometown of Laurel.When he and his now-pregnant wifego out for the evening, Blanche makesa sad and half-hearted attempt toseduce a young paper boy. She latergoes out with Mitch on a date.Scene 2. A few days laterStanley, infuriated by Blanche's artificial airs, hersuggestive behavior, and what he regards as her loss of hiswife’s birthright, is determined to expose the lies about herpast—which is more tragic and sordid than he is able toimagine.Scene 2. That nightMitch unburdens his heart to Blanchewho, in turn, tells him of her briefmarriage to a young homosexual andhow she blames herself for his suicide.Scene 3. That nightDuring a poker game Blanche meets Harold Mitchell(Mitch), a workmate of Stanley’s, very much tied to hismother’s apron strings. Blanche sets her sights on him.Stanley, drunk, breaks up the evening and strikes Stella,whom he regards as siding against him with Blanche.After this violence, and contrary to Blanche’s advice,Stella returns to Stanley’s bed. The next morning Stanleyoverhears Blanche entreating her sister to leave him.Hawaii Opera Theatre10AriaTIME: 1940sPLACE: New OrleansACT THREEScene 1. Some weeks later, Blanche’sbirthdayMitch is late for the party. Stanley, who feelsthat his home and marriage are both threatenedby Blanche, breaks up the celebration when hereveals that his friend has discovered Blanche’sunsavory reputation in Laurel for seducingyoung men, and the fact that she had been toldto leave town. After handing Blanche a one-wayticket back home, Stanley tells her that Mitchnow knows everything and will not be comingaround again.Scene 2. Later that nightStella has been taken to a hospital for apremature delivery. Mitch, drunk, invades theapartment and bitterly reproaches Blanche: Justas her desperate hopes lie with him, his lie withher. They have both lost their emotional refuge.His denunciation of her as someone too uncleanto enter his mother’s house is a trigger thatstarts to unhinge Blanche’s mind.Aria11Scene 3. LaterThis fragmentation is completed when Stanley,as a last act of cruel retribution, rapes Blanche.Scene 4. Some days laterBlanche prepares to leave for a visit to afictitious old admirer. In fact, Stella, unable tobelieve Blanche’s accusations against Stanley, ispacking Blanche’s clothes for her to take to theasylum when the doctor arrives.This synopsis was written by the late Colin Graham, whodirected the world premiere of A Streetcar Named Desire, and isreproduced here with the permission of San Francisco Opera.A Streetcar Named Desire

PRINCIPALCASTIn order of vocal appearanceJill GardnerBlanche DuBoisVictoria LivengoodEunice HubbellAmerican soprano Jill Gardner sits among today’s leadingoperatic heroines. Gardner is consistently hailed for herportrayals of the leading ladies of the Verismo repertoire andPuccini heroines alike. Considered the next great interpreterof the title role of Tosca, she has performed the role at OperaCarolina, Hawaii Opera Theatre, Arizona Opera, Lyric OperaBaltimore, Toledo Opera, Mill City Summer Opera, and BostonLyric Opera. Opera News calls her interpretation “fresh andfocused.” This season, she reprises the role of Tosca withPiedmont Opera, debuts with Anchorage Opera in gala concerts,performs Mildred in Happy Birthday Wanda June with IndianapolisOpera, the title role in La tragédie de Carmen with Eugene Opera,and Blanche DuBois in A Streetcar Named Desire with HawaiiOpera Theatre.Internationally renowned Metropolitan Opera star VictoriaLivengood is a Grammy-nominated mezzo-soprano whohas been hailed by audiences and critics worldwide for hermultifaceted and powerhouse performances in a remarkablyvaried repertoire. Since her acclaimed Metropolit

Streetcar Named Desire! MAHALO Henry G. Akina Artistic Director Simon Crookall General Director WELCOME TO A STREETCAR NAMED DESIRE. AND OBJECTS FOR LIFE Honolulu Ala Moana Center (808) 947-3789 Royal Hawaiian Center (808) 922-5780 04_177,8X254_AriaHawaiOpera_USA.indd 1 21/12/2016 16:40