The Kindness of Strangers

Kowalski

Anyone who has ever read about an event, and thought to himself, “What would it have been like to be there,” will fall in love with KOWALSKI. The highly anticipated one-act play by Gregg Ostrin nicely continues Lookingglass Theatre Company’s 2026-27 season. For theatergoers who relish the kind of fictionalized historical scenarios captured in such plays as HENRY V, THE CRUCIBLE or AMADEUS, this is a great evening of theatre. And for audiences who can’t get enough of the backstories behind great plays, their gifted authors and the talented stars of the original Broadway productions, KOWALSKI will be like mothers’ milk to them. But actually,  anyone who simply enjoys a well-written, beautifully directed and professionally performed drama, liberally laced with comedy, will love this new play.

The play is bookended by an older and wiser Tennessee Williams appearing as guest on a TV talk show. He shares fond memories about the creation and theatrical triumph of his plays, A STREETCAR NAMED DESIRE, as well as his autobiographically-inspired initial success, THE GLASS MENAGERIE. That lovely, bittersweet play, initially called “The Gentleman Caller,” is what the playwright has labeled “A Memory Play.” Then, almost suddenly, the audience is transported back in time to another memory, a special moment treasured by Tennessee Williams.

Provincetown, MA, located at the far Eastern point of Cape Cod, is one of Tennessee Williams’ many homes. Inside his cozy little cottage the electricity is erratic, the plumbing is problematic and the front door is falling off its hinges. As the lights rise on Williams’ beach cabana, it’s 1947, and we discover famed director, Margo Jones, lying on the sofa with a script in her hands. This esteemed director/producer of Williams’ first Broadway hit, THE GLASS MENAGERIE, is portrayed with ease, stunning naturalism and deep understanding by Broadway actress Alison Cimmet (AMELIE; SHE LOVES ME, Broadway). Tom, Tennessee Williams’ given name, has invited Margo for a relaxing visit and the chance to read his newly-written play, A STREETCAR NAMED DESIRE. She immediately declares the play will be his next masterpiece. However, Williams disappoints Margo when he informs her that Elia Kazan, called “the most honored and influential director in Broadway history,” has already promised to direct this production. Kazan has also sent a promising young actor to Williams, named Marlon Brando, telling Tom that this 23-year-old is perfect for the role of Stanley Kowalski. However, despite having been expected three days ago, young Mr. Brando has yet to arrive.

When Marlon Brando finally arrives, Margo and Pancho, Williams’ current boy toy, (and played with steamy Latin sensuality by Reece Dos Santos, in his Chicago debut) have left together for an evening at the local watering hole. Tom has said he’ll join them later, after he’s freshened up. When young Brando finally arrives, he knocks, but to no avail. Finding the door unlocked, the gutsy actor simply walks in, looks around, finds something to nibble on and shocks Williams with his sudden, unexpected presence. But before Tom can hit the intruder over the head with a frying pan, Marlon explains that he was sent by Elia Kazan to read for the lead male role of Stanley Kowalski in his new play. Brando explains that he spent the bus fare that Kazan gave him on food, so he had to hitchhike for three days to reach Provincetown. But now that Marlon Brando has finally arrived,Williams isn’t immediately convinced that this handsome, yet fascinating, young man is right for the role. Through a night of bantering, trading barbs and raging egos, Tennessee Williams eventually recognizes that this Brando kid might be someone special.

Johnny Galecki is known to most theatergoers as the likable Emmy and Golden Globe-nominated star of the popular television sitcoms, “The Big Bang Theory” and “Roseanne.” He’s also been enjoyed in films, like “National Lampoon’s Christmas Vacation” and “Vanilla Sky.” But Galecki returns to his home turf bearing notable theatre credits, from his Jeff-nominated role in A MEMBER OF THE WEDDING at the Goodman, to THE DRAWER BOY at Steppenwolf, and for a critically acclaimed performance in THE LITTLE DOG LAUGHED on Broadway. As Tennessee Williams, Johnny Galecki is absolutely brilliant. The personable actor totally inhabits the famous playwright. Not only has he mastered Tennessee Williams’ Southern dialect and languid speech pattern, he perfectly reveals the man’s fragile personality as someone who, as he wrote, relies upon the kindness of strangers. In Gregg Ostrin’s scintillating drama, we view theatrical history in an engaging mixture of fact and fiction; and Johnny Galecki is terrific in making this story feel absolutely real.

KOWALSKI is essentially a two-character play. The other half of this acting team is equally magnificent. Jacob Moskovitz IS Marlon Brando, particularly as he shows his character to be the perfect choice to play Stanley Kowalski. Jacob portrays Brando as an eager young actor, fully aware of his sexual appeal, but still crafty and wise. Marlon Brando, who’s on the verge of stardom, knows that he may have to be devious and cunning, unethical and underhanded, in order to win him the role. And, although Williams doesn’t know this, Brando has read the recently-completed script and knows that he’s right for Stanley. Mr. Moskovitz ultimately understands that he has to take this character to unexpected lengths, in order to land the job. Jacob may be remembered from the Netflix feature, “Here Comes the Flood” and will soon be seen in “Elle,” Amazon’s highly anticipated prequel to “Legally Blonde.” But, in my opinion, this talented young actor has an outstanding theatrical career ahead of him.

And, not to be ignored, lovely and superbly talented Ellie Ricker (whose television/film credits include “Anne of Green Gables” and “Blue Bloods”) recreates the role of Jo, the part she played in last year’s Off-Broadway production of KOWALSKI. Ms. Ricker plays Marlon Brando’s acting school partner and wannabe girlfriend. She’s agreed to hitchhike down to Provincetown with the young man, in the hopes that he’ll win the role in Williams’ new Broadway bound play, and perhaps seal the deal as Marlon Brando’s main squeeze. Ellie’s exquisite scenes with Brando are touching and humorous, but Jo’s intense, almost romantic and genteel relationship with Tennessee, the quintessential southern gentleman, are a pure delight.

This excellent Chicago production plays out with realism on David Gallo’s detailed scenic design. The play is superbly guided with empathy, enthusiasm and passionate joy by New York director, Colin Hanlon. He also directed the original Off-Broadway production of KOWALSKI last year and is the Associate Director of the upcoming revised Broadway production of THE FANTASTICKS. Without a doubt, this magnificent and magical new production will eventually transfer to Broadway, so Chicago audiences should see it now, while they can. The play deserves to be enjoyed by New York audiences again, especially with this gifted cast recreating their roles. 

Talented playwright Gregg Ostrin has recreated an important moment in theatrical history that will fulfill a theatergoer’s fantasy to have been present when Tennessee Williams first met Marlon Brando. Ostrin beautifully adds enough fiction to the facts to mirror something that Blanche DuBois says in A STREETCAR NAMED DESIRE. She tells Mitch, “I don’t want realism. I want magic.” So Ostrin softens the reality with enough illusion for a more emotional truth. The playwright also fills his play with moments that will remind the savvy theatergoer of certain scenes between Stanley and Blanche. And that’s exactly what KOWALSKI is at the Lookingglass Theatre: a story laced with illusion and magic that, when all is said and done, illustrates Tennessee Williams’ undeniable need for “the kindness of strangers.”   

Highly Recommended

Reviewed by Colin Douglas

Presented September 15-October 25 by Lookingglass Theatre, in the Water Tower Pumping Station, 821 N. Michigan Ave., Chicago.

Tickets are available in person at the box office, by calling 312-337-0665 or by going to www.lookingglasstheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.

Photos by Justin Barbin