Kowalski is a gripping play that transports audiences to a pivotal moment in theatrical history, exploring the tangled relationships and creative tensions surrounding Tennessee Williams (Robin Lord Taylor) as he crafts his masterpiece, A Streetcar Named Desire. Set in a 1947 Provincetown beach house, the play unfolds over one sultry night, blending sharp wit and emotional depth to unravel the dynamics between Williams, the fiery director Margo Jones (Alison Cimmet), the tempestuous Pancho Rodriguez (Sebastian Treviño), and a young, enigmatic Marlon Brando (Brandon Flynn). Kowalski offers a behind-the-scenes look at the raw forces that birthed one of the 20th century's greatest works, weaving memory and myth into a haunting exploration of ambition, artistry, and desire.
The production stars Robin Lord Taylor (“Gotham,” Netflix’s “You”) as Tennessee Williams and Brandon Flynn (13 Reasons Why) as Marlon Brando with Alison Cimmet (Broadway: Gary, Amelie) as Margo Jones, Ellie Ricker (Film: Y2K) at Jo and Sebastian Treviño (National Tour: On Your Feet) as Pancho Rodriguez.
Ostrin takes his cue from Streetcar‘s tragic heroine, Blanche DuBois, who famously insisted, “I don’t want realism. I want magic.” Kowalski‘s deliberately artificial set-up makes Brando a far more crafty and underhanded man who goes to unexpected lengths to land the job; it also sometimes reduces many of the other players, including Williams himself, to caricatures in service of Brando’s ambition. Still, there are some effective moments, particularly in the way Ostrin orchestrates scenes that mirror key episodes in Streetcar — like Flynn-as-Brando’s version of the plaintive cry “Stella!” to his wounded lover. Kowalski offers a vision of the past that strays far from the shadows of the real, but ultimately settles for legerdemain rather than pure magic.
It is possible, I suppose – if you know nothing and/or care nothing about the real-life Tennessee Williams or Marlon Brando – to find “Kowalski” a fully satisfying theatrical experience. This would largely be because of Brandon Flynn. Flynn is now best-known for his role in the TV series “13 Reasons Why,” but I remember him vividly portraying the kidnapped child at the center of “Kid Victory,” the 2017 John Kander and Greg Pierce musical. Flynn’s performance moved us to identify with his character’s suffering, and joy, and confusion.The writing in “Kowalski” doesn’t get inside the characters in the same way, and when Flynn first appears, my main reaction was to size him up based on how accurately his voice and manner and appearance correlated to the real Brando. But by the end, his performance seemed less an impersonation, and more an argument for the power of a magnetic actor.
| 2025 | Off-Broadway |
Off-Broadway Production Off-Broadway |
Videos