By: James Manley
History unfolded in the dimly lit corners of a Provincetown beach house in 1947 as Tennessee Williams met Marlon Brando for the first time. This pivotal moment is brought vividly to life in Kowalski, a new play by Gregg Ostrin, directed by Colin Hanlon. Featuring Robin Lord Taylor as Tennessee Williams and Brandon Flynn as Marlon Brando, the production makes its New York debut at The Duke on 42nd Street this January. Ahead of its premiere, Artist Weekly delves into the creative process behind the play with playwright Gregg Ostrin.
Ostrin first stumbled upon the anecdote of Brando’s unconventional audition for Williams in Elia Kazan’s autobiography. The story—a young Brando hitchhiking to Provincetown, fixing blown fuses in a house without water or power, and then mesmerizing Williams with his raw talent—sparked an idea. “As a writer, you get a sense that a historical event has the potential to be a story,” Ostrin explains. “This seemed like a no-brainer for a play.”
Initially fictionalized, Ostrin’s narrative evolved to center on the real-life figures of Williams and Brando. He skillfully balances fact and imagination, creating a fictionalized scenario that, as Ostrin puts it, “didn’t happen, but could have happened.”
Capturing the essence of Tennessee Williams required deep research and a connection to the playwright’s voice. “Williams cuts a particular figure historically,” Ostrin says. “His interviews, memoirs, and the language of his plays provide a window into how he thought and spoke.” The result is a theatrical interpretation of Williams that remains true to his essence while offering a nuanced portrayal of his vulnerabilities and brilliance.
Kowalski delves into the dynamics of ambition, artistry, and desire through its central figures. Williams’ focus on his craft and Brando’s natural talent create a compelling tension within the narrative. “The play delves into how far an artist will go for their art,” Ostrin notes. “Williams always put his art first, while Brando, despite his bravado, took his craft seriously.”
The setting of a Provincetown beach house, stripped of electricity and water, enhances the play’s raw emotional intensity. “These characters are forced to deal with one another honestly,” Ostrin explains. “It’s a great backdrop for a story about ambition and the sacrifices of
Photo Courtesy: Andrew Patin & Emil Cohen
Collaboration with director Colin Hanlon and the stellar cast, including Robin Lord Taylor and Brandon Flynn, has been a rewarding experience for Ostrin. Despite geographical challenges, Ostrin trusted the team to bring his vision to life. “From the first rehearsal, I just sat back and allowed myself to be entertained,” he says.
Ostrin is drawn to the intersection of memory and myth as a playwright. “Writers have always blurred the line between fact and fantasy when portraying real people,” he says. For Kowalski, this approach allows Ostrin to explore the dynamics between Williams, Brando, and their companions, crafting a story that resonates with contemporary audiences.
Ostrin hopes Kowalski will inspire audiences to revisit A Streetcar Named Desire, recognizing the mythic origins of its creation. “The night Williams fell in love with Brando’s beauty and talent contributed to the perception of Streetcar as Stanley’s play, rather than Blanche’s,” he observes.
When asked how Williams might react to Kowalski, Ostrin imagines a bemused smile and a wry comment: “Oh baby, you don’t know the half of it.”
Photo Courtesy: Colin Hanlon / Gregg Ostrin
Kowalski promises to captivate audiences with its blend of historical intrigue, emotional depth, and theatrical brilliance. Performances begin January 12, 2025, at The Duke on 42nd Street. Tickets and more information are available at www.KowalskiOnStage.com.
Published by Iris S.
