It's true that Louis Vuitton was around before the play was written, but this specific style of bag is a more recent one, certainly setting the play within the last decade.
I thought the clothes looked rather modern, especially Stella's outfits.
cknick, some people obviously don't care and as evidenced by this thread and those for van Hove's revivals this year many are enjoying this current trend of revival. But others, like myself, do care. The two women sitting next to me who walked out at intermission yesterday cared. Some seem to be finding the text illuminated by taking these classics out of time and place and others think the directors are in fact doing the opposite by shrouding the text (and performances) with gimmicks and filler. Why exactly does the set spin clockwise until flores para los muertos when it begins to spin counterclockwise? Why is the set even spinning at all?
Personally, I think Tennessee Williams did just fine illuminating what he wanted to through his text and he doesn't need much "help" from any director getting his points across. I think it's a shame that Anderson's performance had to compete with the modern setting, musical transitions and spinning set. 15 years from now when I think back on this production, most likely having seen five or six new Streetcar productions in the interim, it will be the gimmicks I remember and not her performance.
I say truly, without sarcasm or snark, that if this production does it for you and it deepens your love and understanding of Williams' text then more power to you. I would never begrudge anyone finding joy in one of the great plays of the 20th century. I'm only expressing my own personal disappointment and anger in not being able to find that magic that once was there.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
