#1
Posted: 4/10/05 at 12:25am
A STREETCAR NAMED DESIRE Review
Many wants and needs are fulfilled in Roundabout Theatre Company’s revival of “A Streetcar Named Desire,” playing at the now table-less Studio 54; but, there is also much this production leaves to be desired. Edward Hill’s direction fills the appropriately dressed, yet noisy theatre (the gosh darn blue line rumbles louder than ever during the first non musical in the space since 1940) quite nicely. Although the character studies by the shows leading lady must have fallen by the wayside. Despite a gorgeous set design, a production beautifully suited and staged, and an ensemble of actors who have done their Tennessee Williams’ homework; the plays tone suffers somewhat because of too many missed moments by Natasha Richardson as central figure Blanche DuBois.
Richardson’s overwrought portrayal of fading southern bell is a caricature of everyone’s idea of Blanche instead of a character with fashioned ideals. Blanche DuBois is written as a delicate and yet neurotic woman on a self imposed journey for someplace in the restless post World War II era to make her own. Richardson tumbles on to stage so frantically apt on winning the audience hearts that her journey, especially at the plays open seems entirely too rushed (not to mention her flailing mannerisms.)
After being exiled from her home in Laurel, Mississippi for seducing a seventeen-year-old boy at the school where she taught English, Blanche explains her unexpected appearance on Stanley and Stella's (Blanche's sister) doorstep as nervous exhaustion. As Stella, Amy Ryan brings a warmth of human nature to the torn role. It is John C. Reilly as Stanley here that is the revelation. As Blanche explains how she lost the family plantation, Reilly’s disbelieving Stanley proves not only a bestial creature, but one strong of mind as well. Reilly goes from protective kitten to beastly monster as he realizes why Blanche has left Mississippi.
Stanley tells Blanche he doesn't like to be swindled and demands to see the bill of sale, as Stella sits idol in protection of her sister. While Stanley and Stella’s love runs deeper than Blanche’s imposing ways, the animalistic Stanley begins to be unleashed. It is here where both Richardson and Reilly do their best work. As Blanche nearly becomes taken with another young lover, (the youthfully exquisite Will Toale) she stops and finds herself taken with the more suitable Mitch (Chris Bauer) - a card-playing buddy of Stanley's. The problem is Richardson and Toale’s chemistry is so electric, the audience almost wishes she’d seduce the younger man yet again. But alas, it is Mitch that Blanche is drawn; and he in return. That is until rumors of Blanche's past in Laurel begin to unravel and her conditions become excruciatingly unberable. Richardson unravels far nicer than she frantically builds, but by this point it’s too late.
With a better leading lady this production would have sent stealth waves through the theatre circuit, with Richardson at the helm, it only sends minor ripples. Robert Brill is to be commended for making the Studio 54 stage so time period-esque, much more-so than the Williams’ current revival of “The Glass Menagerie.” In fact the entire production, even with Richardson’s choices, is leaps and bounds better than the ill-fated Menagerie. Unfortunately the stage that Brill built will not be as kind to Richardson the second time around. Her Tony winning performance of Sally in “Cabaret” seven years ago will have to suffice for now, for this year the Sister accepting the statue will be of a holier, but more doubtful demeanor.
Many wants and needs are fulfilled in Roundabout Theatre Company’s revival of “A Streetcar Named Desire,” playing at the now table-less Studio 54; but, there is also much this production leaves to be desired. Edward Hill’s direction fills the appropriately dressed, yet noisy theatre (the gosh darn blue line rumbles louder than ever during the first non musical in the space since 1940) quite nicely. Although the character studies by the shows leading lady must have fallen by the wayside. Despite a gorgeous set design, a production beautifully suited and staged, and an ensemble of actors who have done their Tennessee Williams’ homework; the plays tone suffers somewhat because of too many missed moments by Natasha Richardson as central figure Blanche DuBois.
Richardson’s overwrought portrayal of fading southern bell is a caricature of everyone’s idea of Blanche instead of a character with fashioned ideals. Blanche DuBois is written as a delicate and yet neurotic woman on a self imposed journey for someplace in the restless post World War II era to make her own. Richardson tumbles on to stage so frantically apt on winning the audience hearts that her journey, especially at the plays open seems entirely too rushed (not to mention her flailing mannerisms.)
After being exiled from her home in Laurel, Mississippi for seducing a seventeen-year-old boy at the school where she taught English, Blanche explains her unexpected appearance on Stanley and Stella's (Blanche's sister) doorstep as nervous exhaustion. As Stella, Amy Ryan brings a warmth of human nature to the torn role. It is John C. Reilly as Stanley here that is the revelation. As Blanche explains how she lost the family plantation, Reilly’s disbelieving Stanley proves not only a bestial creature, but one strong of mind as well. Reilly goes from protective kitten to beastly monster as he realizes why Blanche has left Mississippi.
Stanley tells Blanche he doesn't like to be swindled and demands to see the bill of sale, as Stella sits idol in protection of her sister. While Stanley and Stella’s love runs deeper than Blanche’s imposing ways, the animalistic Stanley begins to be unleashed. It is here where both Richardson and Reilly do their best work. As Blanche nearly becomes taken with another young lover, (the youthfully exquisite Will Toale) she stops and finds herself taken with the more suitable Mitch (Chris Bauer) - a card-playing buddy of Stanley's. The problem is Richardson and Toale’s chemistry is so electric, the audience almost wishes she’d seduce the younger man yet again. But alas, it is Mitch that Blanche is drawn; and he in return. That is until rumors of Blanche's past in Laurel begin to unravel and her conditions become excruciatingly unberable. Richardson unravels far nicer than she frantically builds, but by this point it’s too late.
With a better leading lady this production would have sent stealth waves through the theatre circuit, with Richardson at the helm, it only sends minor ripples. Robert Brill is to be commended for making the Studio 54 stage so time period-esque, much more-so than the Williams’ current revival of “The Glass Menagerie.” In fact the entire production, even with Richardson’s choices, is leaps and bounds better than the ill-fated Menagerie. Unfortunately the stage that Brill built will not be as kind to Richardson the second time around. Her Tony winning performance of Sally in “Cabaret” seven years ago will have to suffice for now, for this year the Sister accepting the statue will be of a holier, but more doubtful demeanor.
Updated On: 4/10/05 at 12:25 AM
You would rule Jessica Lange, Kathleen Turner, and Mary Louise-Parker out already? I'm not totally disagreeing, I'm just asking.
