Brandon Flynn as Marlon Brando and Robin Lord Taylor as Tennessee Williams.
By: Jim Manley
In Kowalski, writer Gregg Ostrin and director Colin Hanlon bring to life a legendary moment in theater history—the first meeting between Tennessee Williams and Marlon Brando. Set in 1947 in a Provincetown beach house, the play imagines the provocative night when the established playwright and the hungry young actor first locked horns, setting the stage for A Streetcar Named Desire to become an iconic masterpiece. With a compelling mix of wit, intensity, and raw theatricality, Kowalski has captivated audiences and earned critical praise, leading to an extended run through February 23, 2025, at NYC’s The Duke on 42nd Street.
Director Colin Hanlon recalls his initial reaction to Ostrin’s script: “It felt like a Tennessee Williams play within a Tennessee Williams play. It moved quickly, surprised me, scared me, and made me belly laugh.” Capturing the essence of two such larger-than-life figures while keeping the play fresh and original was a challenge but one that Ostrin embraced. “I found a voice for Williams that channeled the language in his plays—it’s not his actual speech, but a theatrical version of him,” he explains. For Brando, Ostrin sought to portray the actor before fame overtook him: “I was trying to find the Brando who was still a feral, starving artist, pushing boundaries and making an art form out of messing with people.”
The play’s brilliance lies in its balance of intellect and instinct, its poetic language contrasted with the primal energy of two titans at war. “At the end of the day, both men are tigers occupying a single, small cage,” Hanlon notes. The dynamic between Williams and Brando is fraught with tension, deception, and admiration, all of which are carefully orchestrated within the confines of a single setting.
Photo Courtesy: Russ Rowland
Gregg Ostrin and Colin Hanlon at the opening night of Kowalski.
The success of Kowalski hinges on the performances of Robin Lord Taylor as Tennessee Williams and Brandon Flynn as Marlon Brando. Their chemistry is electric, something Hanlon attributes in part to his knack for casting: “I’ve known Robin and Brandon separately for years and knew they’d respect, challenge, and ultimately support each other.” Watching them bring these characters to life has been nothing short of thrilling for Ostrin. “Not only are they the perfect ages and types for the parts, but they seem to inhabit them so naturally. The personal layers they bring to their performances make it a pleasure to watch.”
But Kowalski isn’t just about its two leads. The supporting cast—Alison Cimmet as Margo Jones, Ellie Ricker as Jo, and Sebastian Treviño as Pancho Rodriguez—add richness to the drama, serving as mirrors and foils to the creative giants at the center of the story. “The three supporting characters are treated the worst,” Hanlon remarks. “But their presence is essential in revealing the more complex aspects of Williams and Brando.”
Audiences have been drawn to Kowalski, with critics calling it “a must-see” (Digital Journal) and “a playful and highly engaging tribute to both Williams and Brando” (TheaterMania).
The play’s appeal lies not only in its historical intrigue but in its universal themes of ambition, ego, and artistic creation. “Most people don’t know the story of how Brando got the role, and while much of what happens in the play is a theatrical interpretation of events, the circumstances and characters are rooted in historical reality,” Ostrin reveals.
Hanlon believes the play’s success is also due to its carefully crafted balance of tension and release. “I’m tired of seeing plays where everyone just screams the whole time—the audience tunes out. I constantly reminded Robin and Brandon that while these two characters despise each other at times, they ultimately share a foundation of mutual admiration and respect.”
Adding to the play’s magic is its unpredictable nature. “People don’t know exactly where it’s going,” Ostrin says. “And let’s face it, we all love stories about icons.” Indeed, the allure of seeing a young Brando before he was a legend and a Tennessee Williams still fighting for his place in history gives Kowalski a unique and magnetic pull.
Photo Courtesy: Russ Rowland
Robin Lord Taylor, Alison Cimmet, Ellie Ricker, and Brandon Flynn.
With its extended run, Kowalski has proven to be more than just a fascinating historical what-if—it’s a theatrical success. “It takes a village and a miracle to produce anything in New York City,” Hanlon reflects. “I’m grateful to Aaron Grant for bringing me on, to Gregg for trusting me with his play, to the producers for making it happen, to my creative team for their brilliance, and to my cast for trusting me… almost always. Lastly, to the audience—for being the final creative team member. They’ve taught me so much about what they were understanding and what they weren’t.”
As the lights dim each night at The Duke on 42nd Street, audiences are transported to a singular moment in time—a moment that had a profound influence on the landscape of American theater. With its blend of sharp humor, psychological depth, and captivating performances, Kowalski is not just a play about history; it is a piece of history in the making.
Published by Anne C.
