I'm sorry if this topic's already been covered elsewhere (did a search, didn't see anything), but this is some stunning work. The tangy reds and the silhouette, my only reservation is the headshots conspicuously placed in the silhouette.
Lovely.
"Are we being attacked or entertained?" - MST3K
My theatre poster/logo portfolio: http://www.listenterprises.com/
I'd much prefer just the right side of the screen. No silhouette, no street scene, and certainly no headshots. Placing Underwood's head in the skirt is preposterous. To call it vulgar would be giving it credit for having an erotic impact which is clearly lacking.
I actually like idea of the poster. The dress is.. weird, and I think the tagline is god-awful. But the red is eye-catching and appropriate, and the logo design evocative.
But that tagline. Sheesh.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
Do we need another revival of this play? I loved the revival of CAT ON A HOT TIN ROOF, because the casting was brilliant. I don't think the casting for this is anywhere near what it should be. Just my opinion. This will be the fourth revival...first with the great Rosemary Harris, then Jessica Lange, then Natasha Richardson, and now this one. Rosemary Harris was brilliant, the other two were okay.
I didn't think the tag line was emphasizing that it was a non-white cast. But, like you, I have no idea WHAT it's supposed to be saying. That this cast is more attractive than the others? That it's a beautiful production? That it's fierce? I don't know. It may very well be about it having a black and Latino cast. I guess. I don't even know.
With that strange exaggerated dress and the tag line, maybe they'll be wearing couture?
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
I assumed they were playing up the attractiveness of the cast (because, you know, Streetcar has never been known to be cast with attractive actors before...)
"This will be the fourth revival...first with the great Rosemary Harris, then Jessica Lange, then Natasha Richardson, and now this one."
You forgot Blythe Danner did a production with Circle in the Square. The problem with that one was her Stanley was Aidan Quinn. He was so miscast. Blanche describes Stanley as an animal and Aidan was just a cute little puppy.
I have no desire to see this production at all. I wonder if the audience will talk back to the actors like what happened in "Cat On a Hot Tin Roof". Hopefully they will make an announcement that tells the audience they are in a theater and not a church revival.
Yes, that tag line is a sly indication of it being a multi racial cast.
And yes,the audience will probably chat back and forth to the actors and themselves. Dont know as yet if it will be in the same way as the comedy revival of CAT ON A HOT TIN ROOF experienced at the same theatre back in 2008. And I shall never know first hand as I have no interest in seeing this production.
But I look forward to reading all about it
The red got my attention, the rest of it? Meh!
Updated On: 2/22/12 at 10:46 AM
I like the artwork, eye-catching yet still rather simplistic. The tagline is appalling and makes absolutely no sense with the context of the content of this show. And as far as casting unattractive people in this in the past; I'd argue that with how many good-looking actors have been cast primarily in the roles of Stanley and Blanche. That fact was why the Richardson revival just didn't work. Stanley needs to ooze sexual magnetism and you just don't get that from John C. Reilly!
Even though this is my favorite play of all time, I'll be skipping this revival. The fact that they didn't transfer the brilliance that was the Blanchett revival (because the cast was Australian) is just a crime.
^Was that really the reason Ullman's fantastic production didn't transfer? In any event, it' a damn shame.
So, hate to bring ethnicity up on any bww thread because it is really asking for it, but is Stanley's last name stilly Kowalsky? Not to mention that his being Polish (Blanche uses a different word), distinguishing him from Stella and Blanche..... hell, the more I think about this, exactly how are they going to deal with this (not to suggest it's insurmountable, or should prevent the play from being done by this cast, but it undeniably creates a challenge).
A lot of what is being questioned here has been talked about in other threads - but a recap:
The Blanchett production wasn't thwarted from transferring because the cast was Australian. The reason it didn't transfer ultimately was because of scheduling conflicts, but more importantly, the producers of this revival already had the rights for a Broadway revival and weren't interested in stepping aside for that production to come to Broadway instead.
It remains to be seen exactly how the issues of race are going to be handled in this revival, but without directly saying so, Emily Mann in her Press interview yesterday spoke about the revival's concept in a way that is almost identical to the all-black production of STREETCAR that was planned for Off Broadway in 1956 and that was to have included some textual changes by Williams to accommodate the roles being played by actors of color.
Like the concept for that production, this revival is featuring a French-Creole (i.e. light skinned) Blanche and Stella confronted with their own racial prejudices against a dark skinned Stanley (and Mitch)who would in their experience and rearing be socially inferior.
It will be interesting to see if any of those afore mentioned textual changes approved by Williams for the black production that didn't happen will be incorporated into this version.