One of the major problems of the script stems from the ambiguity of the play, which would make it even more important for the director to pay close attention to detail since they are more choices to be made. While more choices could mean more flexibility, in this case, a wrong choice could overturn the entire production. issue to consider is whether the play should be played as a period piece, as it seems to be intended as such. A Streetcar Named Desire would not make as much sense if it were in a contemporary setting, as the play’s characters have set gender roles and social class struggles reflective of the 1940’s period in America. The other issues, perhaps the hardest to tackle with, would be the staging of the play with possible uncomfortable scenes for the audience. Among these include domestic violence, when Stanley beats Stella, and when Stanley rapes Blanche, and the depiction of homosexuality.
An important aspect to be considered if A Streetcar Named Desire were to be produced at SHSU or anywhere else, as mentioned earlier, would be for the audience to comprehend the play since it is not very literal. The other issues would also apply here, from the setting of the play, to the staging of awkward scenes of rape and violence, and dealing with uncomfortable topics. A balance has to be struck in the production as to not make these awkward scenes as offensive to a possible conservative audience or anyone else, but to demonstrate the raw humanity of the characters who are dysfunctional and that this was their reality. Another issue for this play on campus would be the length of it; it is close to three hours long. Casting would also be important to consider, especially the casting for Blanche, Stanley, and Stella. If they are miscast, it could impair the dynamics of the play.
Typically the set and lighting in past productions have complimented the script and the performance to help the audience grasp the symbolism and figurativeness of the play. For example, in most productions, the set is made to be confined and claustrophobic to show how Blanche is invading Stella’s and Stanley’s relationship, and how conflict arises more easily by their close proximity to each other. Also, it could show how entrapped these characters into their set roles. Some productions have also made the set appear decayed, to show Blanche’s downward spiral into instability as circumstances further push her down into ruin. The lighting in productions has also mostly been pretty dim, since Blanche is always trying to hide who she really is as a self-defense mechanism. Some productions of Streetcar, especially the first ones, did not show the scene where Stanley rapes Blanche, it was rather implied as it is in the script. Other productions have shown this scene, but do not usually emphasize the brutality of the scene and rather downplay it.
Generally, the critics have responded positively to Streetcar throughout the years, and in the process winning several awards. It has been one of Tennessee William’s most acclaimed work, a provocative play for the time period that garnered mostly praise, but also raised criticism from conservative reviewers due to the unconventional nature of the play. Critics have mostly admired the complexity, figurativeness, and intensity of the play, which can make it a more challenging but interesting production. Critics have also mostly focused on the casting of Stanley, Blanche, and Stella. Usually it is Blanche and Stanley are given the most criticism since they are the hardest characters to play, especially Blanche. Blanche is supposed to be fragile yet strong, delusional but not completely crazy. Stanley can be seen as a monster, yet he still is supposed to show a certain boyishness, vulnerability, and charisma that will help the audience understand why Stella puts up with his abuse.
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