Let me start off by saying that I’m so happy that we have two of Tennessee Williams best plays on Broadway this season. These are shows that I could see all the time and never got tired of. Sadly, neither of them are being done very well. Natasha Richardson and John C. Reilly started performances tonight at Studio 54 and after sitting through it’s almost three hour running time, I wondered if they might want to hold off for a few more weeks of rehearsals. But after thinking about I came to the conclusion that that might not even solve this shows problems. I’ll say that the direction and staging were fine. The set is like you would imagine it to be, if you’ve ever seen this show on stage. The blocking is fine, and even the ensemble work nicely. Chris Bauer and Amy Ryan as Mitch and Stella were by far the best parts of this show. They each understood their characters and what motivated them. I wish I could say the same for the leads. And it kills me to say that because they are each such fine actors.
I’ll start with John C. Reilly. I, like a lot of people was confused when casting was announced. He’s not your “typical” Stanley. I thought they must know what they’re doing and he brought something special to the role. What he brought was a Stanley that came off as a drunken oaf who showed no signs of the sexually aggressive man that he needs to be. I couldn’t for the life of me find one reason for Stella to walk down those stairs and let him carry her to the bed after he beats her. There is not one solid ounce of chemistry between him and Richardson so when she submits to him in Act Two, I rolled my eyes and looked at my watch. This show is about sex. It’s about passion and desire, none of which he can offer either of these ladies.
Natasha Richardson’s Blanche suffered from an entirely different problem. Her problem was that she has no clue who or what a southern woman really is. There’s a complexity to them that can’t be faked. Every word that comes out of Blanche’s mouth and every movement is specific. She knows what she’s doing and the reason why. Her words are said a certain way and said any other way, they take on a new and possibly lesser meaning. Mrs. Richardson’s southern accent went in and out all evening and I didn’t believe she was this woman at all. Except for the scene between her and the paperboy. The chemistry between them was remarkable and I got angry that it only lasted for all of three minutes. We, for a very brief moment, got to see the sexually manipulative woman she really is. It was a shame to see that magic end.
I’m not sure if these things can be fixed by the time the show opens. It seems like these problems are bigger than these actors and what they can offer these characters. Maybe you have to come from the south to see the things I saw wrong. Maybe not.
All I know is that this show deserves more.
"Noah, someday we'll talk again. But there's things we'll never say. That sorrow deep inside you. It inside me, too. And it never go away. You be okay. You'll learn how to lose things..."
I had such high hopes for this production after the ever-so-slighly (but not ENTIRELY) disapointing Glass Menagerie. This new totally ruins my night.
Don't worry Matt, it's not your fault.
"This is what I trained to do, and this is what I love about theater. What I love about being an actress is being able to really look into myself and understand another human being. And out my own self, to shape and form and fashion a real human being--and to present that in such a way that people see something of themselves or their own understanding in that human being."
--Phylicia Rashad
Hmmm... I'm seeing this show on Wednesday, so I'm disappointed to hear that.
I'll be interested to see what this is like once they've had a chance to settle in front of an audience. Lord knows that these are not easy roles. The same kinds of things were said about Turner and Irwin before the opening of "Woolf", and now they're getting raves left and right.
Well I was at the 1st preview of WOOLF and thought it was nothing short of brilliant.
"Noah, someday we'll talk again. But there's things we'll never say. That sorrow deep inside you. It inside me, too. And it never go away. You be okay. You'll learn how to lose things..."
Amy Ryan was fabulous. She was without a doubt the best thing about this show.
"Noah, someday we'll talk again. But there's things we'll never say. That sorrow deep inside you. It inside me, too. And it never go away. You be okay. You'll learn how to lose things..."
Thank God. I mean...I love Natasha. She could walk onstage and read from the phone book and I would be happy. But I think Amy is a talent that really needs to be showcased. SOO glad to hear she did so well. I will be certain to see this.
"I love talking about nothing. It is the only thing I know anything about." - Oscar Wilde
STREETCAR is a show that like GYPSY, everyone has a specific idea about how it should be staged/designed/performed, etc. It's interesting to me when shows like these become iconic, because part of me truly believes we will never see a production of either again that doesn't manage to divide critics.
But back to STREETCAR. John C. Reilly has always been "odd" casting for Stanley, which I think set this STREETCAR up for alienation right from the get go.
Disappointing to hear that Natasha Richardson, one of my favorite actresses, doesn't have a better handle on the role.
I'm not exactly sure what you mean with the "not being southern" thing -- Jessica Tandy, Vivian Leigh, Blythe Danner -- most or all of the women who have done the role on Broadway were whistling anything BUT "Dixie" at their birth.
But obviously, I get the gist that she's not under the character's skin. Perhaps with time.
I'll be anxious to hear more what others think about this. I may try to see it this week. Updated On: 3/27/05 at 02:24 AM
Perhaps if Richardson is greeted with bad reviews, she and Jessica Lange can try a role switch for a week. Its already been well reported that Lange is channeling Blance as Amanda. Maybe Richardson will channel Amanda. What the hell, for that matter, how bout we try a swap with the strong, sexy hetero Christian Slater and the gentle, teddy bear, vulnerable-natured John C Reiley.
wow mm, that picture is simply striking. i think she'll have competition from mary-louise parker and phylicia rashad maybe. but i'm gunning for her. she deserves it.
When I heard that John C. Reiley was to play Stanley I was of course skeptical but in the back of my mind was thinking “they know what they are doing, there has to be a method to their madness.” The fact that I was wrong is utterly disappointing. Your review seemed to have pointed out exactly what I would have disliked about the show as well, so thanks. Seems as though maybe the actors/actresses just did not fully understand the characters. Sad. I’m defiantly going to try to see this as soon as possible.
"To riding your bike midday
Past the three piece suits
To fruits ~ To no absolutes
To absolut ~ To choice
To the village voice
To any passing fad
To being an us for once - for once - instead of a them" ~RENT
Dream as if you'll live forever. Live as if you'll die today.
~James Dean
I predict that Natasha will pull a great Redgravian performance out of her gene pool before opening.
Reilly, though... If it's not obvious already how a big lug could pull of Stanley's sexuality, it doesn't seem likely to emerge. We all know Stanley-types who aren't as good looking as Brando but are still sexy and dangerous (or at least some of us do). I was hoping that would be the concept.
Jessica Tandy, Vivian Leigh, Blythe Danner (all of whom I've either seen or heard) as Blanche, all understood what a Southern woman was. It's not something I can exactly put into words so I apologize if it doesn't make 100% sense, but anyone from down south will know what I mean. I adore Richardson, but sadly she doesn't know what this is.
"Noah, someday we'll talk again. But there's things we'll never say. That sorrow deep inside you. It inside me, too. And it never go away. You be okay. You'll learn how to lose things..."
Yes, Natasha Richardson did Tracy in HIGH SOCIETY in London, but this was a very different version of the musical than what ended up on Broadway; the character of Tracy sang very little in that production.