In early September, I was privileged enough to witness Rachel Weisz take on the fading Southern belle known as Blanche DuBois in a West End version of this Williams' production. Located in London, the Donmar Warehouse, which housed the production, is structured in the round, which allowed the staging of Streetcar to become more creative. Taking a surrealist approach by having actors double as fatal memories from Blanche's past (all non-speaking roles), it added a darkness to the work of Williams I had yet to see anywhere else. Topping the beautiful set design and the new approach, was Ms. Weisz.
The last time the London stage was graced with Ms. Weisz's presence was in Neil Labute's tragicomedy "A Shape of Things." Here, in Streetcar, you witness a transformation that only few can achieve. Some say the mark of a good actress, nae a great actress, is for you to be able to forget their fame when appearing on stage or screen. It is near impossible to take your eyes off of Ms. Weisz for a fraction of a second, dreading you will miss a simple bat of an eyelash or the crossing of her legs that she will use to empower her next line. The tragic beauty in a dark red robe, making her way and claiming her femininity throughout the two and half hour production, not only affirms the talent of a young woman, but confirms her appreciation and knowledge for stage versus screen acting. Though the London production had its pitfalls (an unintelligible lead actor), upon leaving, clarity washes over you that this was a once in a lifetime event that nothing can come ever close to.
Then, on October 28, 2009 inside the Brooklyn Academy of Music's Harvey Theatre on Fulton Street, the lights begin to dim on the production of the same title, only this time the fading heroine being portrayed by veteran screen actress Cate Blanchett.
Immediately, we become transported to New Orleans with Mr. Myers set design. Naturalistic in its structure, yet layers of symbolism and texture rising from the floor. As the lights fade up, Ms. Blanchett sits in solitude at stage left while the action at Elysian fields begins with a roar. Ms. Blanchett slowly makes her way, crossing imaginary stage lines, and speaks with a tone filled with years of repression, solitude and hardship. Her body remains stiff throughout the introduction, finding herself to be a pearl lost inside a decrepit oyster.
As Williams' poetic tale plays out, we are introduced to Stella Kowalski, played with remarkable sensuality, sensitivity and enthusiasm by Robin McLeavy. Ms. McLeavy shows us a Stella that is not just Stanley's wife, not just a caring sister, but a woman nonetheless. She brings her sexual desires to the forefront and is neither ashamed or embarrassed to let this be known. Watch closely for her stern demeanor mixed with helplessness in a scene where, due to a brilliant choice on Ms. Ullman's part, Stella is hit by Stanley and comes back with a black eye.
Joel Edgerton brings a typical Stanley to the stage, but through this shines brilliance. Mr. Edgerton never goes overboard with his choices, his dialect is near perfection and his love for Stella is always apparent. His desire to please his wife, and to have all right in the Kowalski house actually sentimentalizes the character, credit due mostly to Mr. Edgerton's physicality. Credit is due to both Mr. Edgerton and Ms. Ullmann in a dinner scene where Stanley abruptly spits food across the table to confirm once and for all that he is king of his castle.
Playing the final straw in Blanche's breakdown is Tim Richards as Mitch, a poker buddy of Stanley's who forms an immediate desire for Blanche. In one of the most comedic performances of the play, Mr. Richards plays him with a delicate yet goofy nature that makes our heart shatter every time he utters a phrase about his mother or his love for Blanche. His ultimate breakdown upon Ms. Blanchett's final exit further clarifies that realism that Williams instilled in his writing.
Let's cut to the chase. Ms. Blanchett gives a tour de force performance here. She opens the play with a spotlight on her, letting us into her despair. She then closes the play in the same spotlight, completely broken as she dares to stare into the distance, leaving us hopeful her imagination will remain with her through the dark times ahead. Ms. Blanchett is a beautiful woman, there isn't much debate on this. The only fact more certain about Ms. Blanchett is that she is our generations Katharine Hepburn. I mean, hell, she won an Academy Award for playing the icon in "The Aviator." As Blanche, Ms. Blanchett offers us a very calm performance, very rarely letting her outbursts occur when people are present. Streetcar is typically looked upon as a drama, as well it should. The monologues in the play, the poetic dialogue, nowadays can read melodramatic. The wonderful part of Ms. Blanchett's performance is that she breathes the words in a way only a southern belle would and they land beautifully. She uses simple gestures and adds humor to lines to achieve the perfect balance. In all, Ms. Blanchett's performance is a perfect concerto. It begins as it should, slow, steady and beautifully lyrical. We are taken through the piece, watching the beautiful notes increase with intensity and are on the edge of our seats during the final climactic scene. This final scene, ladies and gentlemen, is the one that Ms. Blanchett will forever be known for on stage. A few simple words and a monologue delivered with perfected emotion that it brings tears to your eyes knowing what lies ahead for our heroine. Her slow descent into final madness, which Ms. Ullman achieves through a solitude walk around the stage, is heartbreaking, leaving us breathless and ashamed that we are viewing such a private moment.
Liv Ullmann is mostly known as an actress who had frequently worked with filmmaker Ingmar Bergman, and became famous for her film work as well as her directing work. In Streetcar, Ms. Ullmann truly achieves a perfect revival. With a stellar ensemble, a beautiful set and lighting and sound to only increase the play's intensity, Ms. Ullmann knew the type of revival she wanted to show and tell and succeeded. Through physical business and incorporating a blocking system that only adds to the play's theme of illusion, it's difficult to tell where the genius of Mr. Williams' ends and Ms. Ullmann begins. In a brilliant moment, Ms. Ullmann brings the lights back up after the infamous rape scene occurs and we see a brief glimpse of a naked Stanley (lying on his stomach), and the back of Blanche, adjusting herself, in her beautiful blue robe. Ms. Ullmann also chose to omit the final line by the poker players "The game is seven card stud", another brilliant choice to affirm this production was about Ms. DuBois. These and many other simple yet effective choices made the direction by Ms. Ullmann concise and original. I, for one, never felt I was anywhere else except in New Orleans with Ms. DuBois, the Kowalski's and their friends.
The lighting design by Mr. Schlieper elicited the perfect amount of blue in addition to a blend of natural light. He managed to acquire just the perfect amount of lighting between scenes for us to see Ms. Blanchett sweeping from end to end, and letting us view the arrival of the infamous "treasure chest" that belonged to Blanche. Mr. Charlier's sound design started slowly and came to an operatic end. Hearing the streetcar get louder and louder as the play progressed filled the scenes with an extra pound of emotion and subtext, something Williams was highly regarded for mastering.
The only fitting way to sum up Ms. Ullmann's revival is by quoting Mr. Williams' himself. "I don't want realism, I want magic." It truly was magic, we received.
BAM's version of A Streetcar Named Desire, presented by the Sydney Theatre Company runs until December 20, 2009 at the Harvey Theatre. Tickets are currently sold out for the run, but partial view seats are available to those who are BAM members.
BAM Harvey Theater
190min with intermission
Tickets: Tue—Thu: $30, 65, 95; Fri—Sun: $40, 80, 120
*Nov 27 & 28, Dec 1, 2, 4, 5, 8—12, 15—19 at 7:30pm
Nov 28, Dec 2, 5, 9, 12, 16, & 19 at 2pm
Nov 29, Dec 6, 13, 20 at 3pm
Dec 3 at 8pm (Belle Rêve Gala)
Cate Blanchett as Blanche DuBois
Joel Edgarton as Stanley Kowalski
Robin McLeavy as Stella Kowalski
Tim Richards as Mitch
Playwright: Tennessee Williams
Director: Liv Ullmann
Set design by Ralph Myers
Costume design by Tess Schofield
Lighting design by Nick Schlieper
Sound design by Paul Charlier
