Image: National Theatre
Benedict Andrews recently brought Tennessee Williams’ ‘A Streetcar Named Desire’ to the Young Vic theatre in London for what truly was the most brilliantly uncomfortable piece of theatre I have seen to date. The cast boasted Gillian Anderson (star of television’s The X-Files and Hannibal) as Blanche DuBois, Ben Foster (30 Days of Night) as Stanley Kowalski, and Vanessa Kirby (BBC’s Great Expectations) as his wife Stella.
Gillian Anderson portrays Blanche DuBois as a diva in all the right ways. Blanche is first seen tottering onto set in killer heels and clutching her Louis Vuitton handbag, which sets the standard for Blanche’s vanity throughout the rest of the play. Inevitably it is seeing Blanche gradually lose herself that makes ‘A Streetcar Named Desire’ the challenging watch it has always been. She is a heartbreaking character as despite her promiscuous past and constant white lies, she is simply an incredibly endearing character. Despite the heartache it cannot be denied that Blanche DuBois loses her mind in style; after all if you’re going to go crazy, why not do it in a ball gown?
When I first read A Streetcar Named Desire, I thought that Stanley Kowalski was a first class idiot. He beats his wife, drinks heavily, and has nothing more than physical strength to go on. Although I still don’t agree that raping his sister-in-law (on the night his wife went into labour) was perhaps his best life choice, Ben Foster really made me like Stanley. His characterisation was funny and charming, yet possessed an element of danger.
Vanessa Kirby presents Stella as a fresh faced young woman who bounces around in skinny jeans and a crop-top, rarely seen without a can of Diet-Coke on the go. Much to my surprise and to the credit of Vanessa Kirby, Stella -although not the leading lady- undoubtedly created the moment in the production that has stuck in my head above all others. Stella’s cries to Blanche, who eventually allows herself to be taken away by a doctor, are full of anguish so raw that I felt invasive simply being witness to them. In this moment Stella truly recognises that she has lost her sister, a revelation which is essentially at story’s core.
Furthermore the stage was very intelligently designed with an open studio apartment mounted on a rotating set, meaning that every member of the audience had a unique viewing experience. The décor of the apartment was very Ikea focused, which I feel was a refreshing modern touch that complimented Stella’s youthful energy, and of course contrasted heavily with the sisters’ lofty childhood estate.
Benedict Andrews’ adaptation of ‘A Streetcar Named Desire’ puts a fresh spin on a long established piece of theatre and gives this classic a new lease of life.
Laura Clements