Streetcar Named Desire at St. Ann's — Page 3

Whizzer, I am with you 100%. I truly am! I wouldn't say this production itself illuminates my appreciate of Williams (nor do I prefer these productions by any means) but the individual performances certainly do. I don't think Williams or Miller or any great, great play needs a stark, highly conceptualized production do illuminate the text. As you say, it is plenty brilliant on its own!

Updated On: 5/1/16 at 10:13 AM

It's a critics' pick from Brantley.



http://mobile.nytimes.com/2016/05/02/theater/review-streetcar-named-desire-gillian-anderson-ben-foster.html

EthelMae said: "Blanche makes her first entrance looking spiffy and ready for a TV show or something. Doesn't that erase her entire before life before we encounter her?"



Blanche is supposed to be incredibly preoccupied with her appearance, and also supposed to have a lot of unusually nice clothes, as Stanley so forcefully points out when he goes through her suitcase.

Whizzer, thanks for making me feel not so crazy for not fawning all over this like all my friends seem to be, especially Foster's bulldog performance.

It's very much modern day (post 2010, anyway) based on the costumes, fake Louis bag (not even LVs on it), toothbrushes, beer cans, etc. It kept pulling me out and making me question why. I also thought the set was too pristine and open to give you a "just these two rooms?" sweltering feeling Whizzer mentioned. The ending also made me question what would be done with a mentally ill relative in 2016 as well as Stella's acceptance of Stanley's story.

I've liked the production less and less the more I've thought about it, especially from Mitch's rejection of her until she's taken away. The last revival's moment of Mitch holding Blanche's face directly up to the dangling bulb really resonated with me and, to me, felt like that violated Blanche's psyche more than her actual rape later on. This production treats it so casually that I had a hard time deciding what set Blanche into her final spiral.

If/when they sign after the show, do they bring out their own pen or should I bring one?

Sondheimtime said: "If/when they sign after the show, do they bring out their own pen or should I bring one?"

Pretty sure they set Gillian up with one. I saw it on Wednesday and staff informed me that pretty much only Gillian ever signs, if she signs. She didn't that night because of the talkback, which was cool of them to do, but the actors looked so spent, not surprisingly... Seemed like they enjoyed answering the fun questions from the audience (rather than the uber serious ones from the moderator), and I loved Vanessa's animated recounting of a rotating stage snafu she experienced during the London run.

As a favor to my friend who wants to get Gillian's autograph for his sister (the one who lives abroad), I went back on Thursday to see if she'd be signing, but staff informed us she wouldn't be that night. I know it's hit-or-miss, but we may go back sometime for a last-ditch effort, since it would be a huge surprise for the recipient if we can get the program autographed.

Are they using real cigarettes? It certainly smells like it. Anyone know how or why they are?

I saw the production on Tuesday...and holy this was brilliant. This was my first time seeing a an actual production of this play. It was one of those nights of theater when you realize why this is considered one of the great plays of all time. I had the same reaction with Brian Dennehey Death of Salesman back in the 90's. Everything about this production was perfection. Gillian Anderson's performance is like nothing I have ever scene, how she goes through that eight shows a week, Ill never know. Ben Foster's performance totally broke free of the Marlon Brando mold that had been set. He found shades and sadness in Stanley, that I never even thought about. Vanessa Kirby also made an excellent Stella. In fact one of the highlights and success of this production is the relationship between Stella and Blanche. I could actually see them as two sisters with love, respect, jealousy, and hatred that goes into that relationship. Also mad respect to the crew who had to scrub down that set twice.

Word of advice if sitting in the front row, during the birthday scene, beware of pieces of plates being smashed.

Caught the matinee yesterday. Anderson is astounding. I was exhausted for her by the end of the play. I enjoyed it even with the modern day IKEA distractions. Just wish it was 30-40 minutes shorter. It was very nice to visit the Brooklyn waterfront and relax a bit before the show.

Has anyone tried the cancellation line? Any tips on what time you should arrive?

I saw this play last night and was mesmerized for the full 3.5 hours. LOVED IT! Want to see it again so hoping to try cancellation line this time.

I saw the production last night. I did not find the "modern" set particularly "modern" or disturbing/distracting in any way. The only item that caught my attention as anachronistic was the shiny, white, wireless telephone. Honestly, though, I noticed it only fleetingly as I was too busy being riveted by the performances.

I'm utterly perplexed by the notion that Anderson isn't bringing anything "new" to her interpretation--as though such an intense, fully-inhabited, emotionally honest and, ultimately, devastating performance is some kind of ho-hum, every day experience that requires some new "spin" or insight to make meaningful. It's all there in the text, of course, and I've been reasonably moved by less fully-realized performances, but I thought Anderson was magnificent.

Unusually in my experience, I felt that all three principals--four, if you count Mitch, as I think we should in this case--are in the same production, giving well-matched performances. Stanley is not the brutal caricature that so often comes from actors doing their best Brando impression and Stella is a (heartrendingly) real person.

I can't explain why the direction of the stage rotation changes--presumably it signals the moment at which the director feels the universe of the show "shifts gears"--but I loved the effect of the moving stage. I felt that I was being given powerful, physical (and emotional) access to the events taking place on stage--almost like the experience of stumbling upon Macbeth in the bathtub in "Sleep no More".

I am in awe of Ms. Anderson's ability to take this journey multiple nights/week for weeks on end--I can't imagine what it does to her psyche.

I saw this last Sunday and thought it was possibly the best production of this play that I've ever seen and I've seen many. If you're on the fence about this one, just go. It's thrilling and it flies by.

There are 2 seats available for tonight's performance. If you want to see it grab them.