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I scored a paperback copy of “A Streetcar Named Desire” at a Value Village in Ajax, ON last week. There are some cool photos of the original cast including a pretty epic shot of Marlon Brando (Stanley) on the cover and I have decided to not remove the 99 cent price tag from the back…it was a good score.

The best part of this particular copy is the introduction, which is actually an essay written by Tennessee Williams that appeared in the NY Times November 30, 1947 (four days before it’s opening on Broadway). It is amazing and the whole piece reminded me of a topic I often bring up with artists I interview about the small window of creativity before someone becomes famous where making music (or creating any type of art) is a very honest and organic thing that somehow can never feel that way again once there are expectations and notoriety.

It seems like for a lot of the musicians I have spoken to over the years the story is the same—after years of touring and dealing with the business of music the hope is to somehow get back to the place in their minds when none of that mattered…….ya know, careful what you wish for because you just might get it. Young, hungry, unknown musician have dreams of being a well-known musician and sometimes their music gets them there. But once that happens it’s rare to make music in that same way. Tennessee Williams says this in his essay “Security is kind of a death, I think, and it can come to you in a storm of royalty checks beside a kidney-shaped pool in Beverley Hills or anywhere at all that is removed from the conditions that made you an artist, if that’s what you are or intended to be.”

A funny thing happened to me after finding this essay…I was invited to the opening night of a play in Toronto called Imbalance. I quite honestly didn’t know what to expect but I walked away so happy that I ended up there that it made me want to tell as many people about it as possible…before it ends its short run, so here I go:
I find myself watching performances with the same feelings Tennessee Williams was talking about in his essay: the raw and honest emotion that exists within a young artist when the goal is just simply to create and express. Imbalance is the story of John and his struggle with mental illness within society and his own family that ultimately ruins his life. It is damn good. I’ve had the fortune of seeing a lot of shows, in particular Broadway musicals and plays (most recently the revival of Speed The Plow with Jeremy Piven) and this tiny production was just as well thought-out and enjoyable. Using a minimal stage, a couple of tables and a few chairs I was just as captivated by anything I have seen in the past because the writing, directing and in particular the acting was so good.

It’s a rare moment in time when you get to see these types of performances. It’s like finding that independent band playing a small gig before they blow up and take over the world. The writer and lead actor, Michael Clarke, is almost perfect in this and is supported by some stand out performances by Ryan Cooley (Degrassi the Next Generation), Tara Grm and amazing direction from Tom Davis. If you’ve got 15 bucks trust me and spend it on this.

Imbalance
July 21st – 31st
Helen Gardiner Phelan Playhouse-79A St. George Street
www.pandemictheatre.com