#1
Posted: 6/4/05 at 7:58pm
When it was announced earlier this year that John C. Reilly would be playing Stanley to Natasha Richardson's Blanche in Roundabout's revival of A Streetcar Named Desire, posters on this board took sides immediately. The majority thought this was a bad idea; their argument was "He should be playing Mitch!". But there were a handful of posters who heard the idea, thought about it, and decided that Reilly had the potential to be a great Stanley. When the show opened, critics mostly agreed that the "He Should be playing Mitch!" argument was a valid one. Meanwhile, those who had liked the idea of casting Reilly saw the revival, and saw that they had been right. The reason they had thought that Reilly would be great was because Stanley is a loud, boorish brute, and he seemed like he could pull it off. The argument against him was that he wasn't Marlon Brando.
Reilly's Stanley is very loud, very boorish, and obviously very different from what people are used to. Brando's Stanley is quite good-looking, but, more importantly, frighteningly intense. What links the two interpretations is the fact that both actors play Stanley as a powerful man who can take charge of those around him. Though Reilly is more average-looking, it is forgotten when you see how he commands his wife, his friends, and his sister-in-law. Stanley is a raw animal that doesn't need to be handsome to be effective.
There is no sexual tension between Stanley and Blanche in this production, it's true. But it works wonderfully. Blanche does not want to get in bed with her brother-in-law anymore: she is completely frightened and repulsed by him. Her diatribe comparing Stanley to an ape is straightforward and seems especially believable, and his search for the truth about her past is driven by hatred. By the second act, the loathing for the other is almost visible in their eyes. One of the most thrilling scenes is their clash right before the rape. Reilly's delivery of "We've had this date with each other from the beginning" is great. He takes her violently -- it is not sexual, it is violent and ugly and causes Blanche to lose the last few strands of sanity that she had left.
Richardson's Blanche, too, is a revelation, and she fits her role maybe even better than Reilly fits his. When she first arrives at Elysian Fields, she is confused, lost, and tired -- her disappointment at her sister's living conditions is apparent and her distaste for Stanley is as well. She has a nice chemistry with Chris Bauer's Mitch, and with Amy Ryan's Stella. Many of her lines are nothing but terrific lies, but Richardson is able to convey a feeling that she believes herself. She slowly spirals downward as her imaginary world is pulled away, and her "I want magic!" is a helpless cry in the dark. The scenes with Reilly are fantastic , but watch her in the final scene; it's a master class in acting. She is broken and frail, self-deluded into thinking she is going on a vacation, and terrified when she sees that her beau that was to take her with him isn't the man standing at the door. We've all heard her final line, "I have always depended...", but her line reading is new and heartbreaking.
Robert Brill's set evokes 1940's New Orleans, and looks quite authentic, as do William Ivey Long's costumes and Donald Holder's lighting design. There are a few new touches (the Negro Woman singing during transitions) that help set the mood. The rest of the ensemble work well together, including Amy Ryan (the sole acting Tony nominee), Chris Bauer, and Kristine Neilsen. The show fills the Studio 54 space nicely, and luckily the tables have been pulled out (they looked very awkward for Pacific Overtures).
So, after this afternoon, I am at a loss as to why this production was largely ignored by the Tonys and the other awards. Best Play Revival would have been a deserved win, and that Best Actress Tony belongs to Natasha. Reilly at least deserved to be recognized with a nomination in addition. There's still a month in the run left, so don't be discouraged by the lack of buzz -- it's the best revival of the year.
Reilly's Stanley is very loud, very boorish, and obviously very different from what people are used to. Brando's Stanley is quite good-looking, but, more importantly, frighteningly intense. What links the two interpretations is the fact that both actors play Stanley as a powerful man who can take charge of those around him. Though Reilly is more average-looking, it is forgotten when you see how he commands his wife, his friends, and his sister-in-law. Stanley is a raw animal that doesn't need to be handsome to be effective.
There is no sexual tension between Stanley and Blanche in this production, it's true. But it works wonderfully. Blanche does not want to get in bed with her brother-in-law anymore: she is completely frightened and repulsed by him. Her diatribe comparing Stanley to an ape is straightforward and seems especially believable, and his search for the truth about her past is driven by hatred. By the second act, the loathing for the other is almost visible in their eyes. One of the most thrilling scenes is their clash right before the rape. Reilly's delivery of "We've had this date with each other from the beginning" is great. He takes her violently -- it is not sexual, it is violent and ugly and causes Blanche to lose the last few strands of sanity that she had left.
Richardson's Blanche, too, is a revelation, and she fits her role maybe even better than Reilly fits his. When she first arrives at Elysian Fields, she is confused, lost, and tired -- her disappointment at her sister's living conditions is apparent and her distaste for Stanley is as well. She has a nice chemistry with Chris Bauer's Mitch, and with Amy Ryan's Stella. Many of her lines are nothing but terrific lies, but Richardson is able to convey a feeling that she believes herself. She slowly spirals downward as her imaginary world is pulled away, and her "I want magic!" is a helpless cry in the dark. The scenes with Reilly are fantastic , but watch her in the final scene; it's a master class in acting. She is broken and frail, self-deluded into thinking she is going on a vacation, and terrified when she sees that her beau that was to take her with him isn't the man standing at the door. We've all heard her final line, "I have always depended...", but her line reading is new and heartbreaking.
Robert Brill's set evokes 1940's New Orleans, and looks quite authentic, as do William Ivey Long's costumes and Donald Holder's lighting design. There are a few new touches (the Negro Woman singing during transitions) that help set the mood. The rest of the ensemble work well together, including Amy Ryan (the sole acting Tony nominee), Chris Bauer, and Kristine Neilsen. The show fills the Studio 54 space nicely, and luckily the tables have been pulled out (they looked very awkward for Pacific Overtures).
So, after this afternoon, I am at a loss as to why this production was largely ignored by the Tonys and the other awards. Best Play Revival would have been a deserved win, and that Best Actress Tony belongs to Natasha. Reilly at least deserved to be recognized with a nomination in addition. There's still a month in the run left, so don't be discouraged by the lack of buzz -- it's the best revival of the year.
But that's just an opinion thing - and yours is exceptionally well presented.
