“when theatre is this good, time is immaterial.”
Con Nats
4.5 Streetcars
NTL have decided to resurrect this classic from 2014 which features Aussie Benedict Andrews directing Gillian Anderson in the lead. And when theatre is this good, time is immaterial.
We know the story. Blanche Dubois comes to stay with Stella (Vanessa Kirby) and her Polish husband, Stanley (Ben Foster)and turns their worlds upside down. Their two-room apartment in the quarter is not what Blanche expected. Their family were plantation owners and Blanche’s high falutin’ attitude, ideals and long baths upset the working class Stanley, who looks to find out more about Blanche. And their secrets and lies start to unravel.
Streetcar is a brutal drama. The characters are unlikeable yet relatable. The themes of violence, lust and mental illness are carried by superb acting and a brilliant Tennessee Williams script. It’s such a joy to hear these lines delivered with that lyrical deep southern rhythm.
The staging is interesting with a wall-less apartment rotating constantly. It makes us voyeurs into their world but can also induce motion sickness and means many facial expressions are lost.
Director Benedict Andrews uses lighting and modern music brilliantly for links between scenes.
Ben Foster (Lone Survivor, 3:10 to Yuma) as Stanley seethes with testosterone and roguish charm. He kicked on with cinema lead roles and noted support roles. Vanessa Kirby (The Crown) plays Stella as a much stronger character than a downtrodden housewife. She veers between loyalty and lust with conviction. Her acting is excellent but I found her accent work pretty poor. She also prospered with an Academy award nomination in 2021 for Pieces of a Woman. Even Corey Johnson has a ruffled charm and innocence as Mitch.
The star is Gillian Anderson who sparkles as Blanche. She is simply brilliant and dominates the stage with her presence. She is sassy, seductive and self-obsessed, showcasing her range as a serious actress. You need sparks to ignite a fire and they all play off each other nicely. And they find the humour amongst the pathos and grit.
This is an engrossing production and Andrews has produced a modern take on the original. What may have once been a look at the decay of the ruling class is now a look at the decline through mental illness. In these actors hands, it’s a powerful drama.
Con Nats, On The Screen
