BY CHRIS HANNA
The relationship between the Broadway stage and Hollywood screen is historically complicated, never more so than when major studios attempt film adaptations based on dramatic masterpieces. Among a mixed bag of results, Warner Brothersβ 1951 rendering of A Streetcar Named Desire stands out still as its gold standard. Cinephiles and thespians, alike, agree that Elia Kazanβs classic mined the best of both genres. Marlon Brandoβs star turn performance, alone, ensures the continued popularity of the film and Williamsβ story well into the future.
That said, that black and white masterpiece - so groundbreaking in its time - has subsequently jailed the original play inside archaic iconography that has tamed its impact for later generations. Once in the can, after all, films canβt continue to change as society does, which leaves even the best stories outdated in todayβs quick changing world. If Streetcar is remembered only as the melodramatic struggle between a powerless ingenue and a muscled brute, then the playβs original ferocity fades within the contemporary camp of soap opera stereotypes and Calvin Klein print ads. The psychological nuance of Williamsβ complex masterpiece becomes all but lost.
Live stage plays, on the other hand, evolve with each freshly imagined production. As theater artists interpret dramatic masterpieces, they naturally bring the values and preoccupations of their times. Although a playβs dialogue and stage directions remain constant, their meaning changes in our hands. Afterall, Hamlet names the players, not playwrights, as the abstract and brief chronicles of the times (I2:2).
In approaching this staging, I have strived simply to mine the contemporary reality of Williamsβ characters and poetry. If characterizations and stagings donβt adhere to expectations established by the Kazan film, I encourage audiences to consider the implications of those differences for todayβs world. To audiences arriving freshly to the story, I welcome you into its timeless journey unfazed. In either case, I am grateful to the actors and designers who have dedicated their craft and intelligence towards this discussion on behalf of the Hampton Roadsβ audiences. If it is true that individual communities receive the theater companies they deserve, then this region should feel very proud at this moment in Virginia Stageβs history.
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