Where: Phoenix Theatre, London
Writer: Tennessee Williams
Director: Rebecca Frecknall
This production, which has transferred from the Almeida to the Phoenix Theatre for a limited run, has been a hot ticket. We had tried to get tickets for the original run at the Almeida but were out of luck, so I was extremely excited at the opportunity to the see it during its west end transfer, and I'm so glad I did. This production definitely lives up to the hype and deserves all the recognition it has received.
The staging of this production is wonderful, replicating the theatre space in the Almeida within the Phoenix’s proscenium. In the centre of it’s rounded, brick walls lies a square platform with open space surrounding it. The ways in which the space is used makes it feel as though the story is taking over the space, not as play being performed, but as characters emerging from the floor and walls. I definitely think replicating the stage from the Almeida was the right choice, the brick walls and industrial style of the space were beautifully coherent with the piece. Whilst the intimacy of being in the same space would have brought the audience further into that world, the performers did well at reaching out and bringing us with them. However replicating the stage did bring challenges. For example the choice to use on stage lighting, reflecting the position of the lights in the Almeida. It was clearly well thought through for that space and the action taking place, but the phoenix theatre has different sightlines which appeared to have been unaccounted for. We were towards the back of the theatre and we couldn’t see anything that happened on the balcony as it was completely obstructed by a low hanging lighting rig. It didn't ruin our enjoyment of the piece but was disappointing.
The set whilst minimal was laid with precision. Each piece being carefully placed into the scene and slowly adding to the destruction and disarray of the world around them. Even those scenes in which the floor was covered in a spread of mess, the image created was perfectly curated to build the atmosphere of the scene in which it inhabited. Everything had a purpose for being there and added something to the production. At points it even felt as though the ensemble were being used in the same way, placing objects and sitting closer or further away. Heads turned away or peering in with intrigue, they represented that world which we never got to see outside the windows of their New York apartment.
One of the biggest surprises of this production was the use of rain effects. For the first two times it is used it falls in a square formation, surrounding the platform. It’s very similar to the rain effect in the National Theatre’s recent production of The Crucible, yet I much prefer it here. Not only does it create an atmosphere and soundscape, but most prominently it creates a barrier between Blanche and Stanley. Leaving Stanley on the outside of his own home, and strangely caging Blanche in despite Stanley being portrayed as the animal that Blanche believes should be caged in himself. In it’s final use a stream of rain falls centre stage onto a bedraggled Blanche curled in a foetal position on the floor. Her back facing us, we didn’t do anything we simply sat and watched as she fell apart in front of us. The scene continues around this image, Blanche slowly becoming drenched. Showing her at her breaking point, in which all those things that she had used to drown the pain are gone, leaving her still and silent in a puddle on the ground. It’s an excruciating image that perfectly rounds up the battles that Blanche has been through, during the course of the play. It’s an image that will stick with you for a while after leaving the theatre.
The lighting in the production was simple, and yet used with expertise. The lightbulb hanging centre stage for the entire piece, and the paper cover which Blanche puts over it, is a key point in the story. For the majority of the play the stage is dim, reflecting the murky light in the apartment from that one measly lightbulb. It is only when the lantern is removed and Blanche reacts as a vampire would, allergic of the light, revealing her appearance to Stanley which he argues he has been covered by the murky light, that the dimness is obvious. The lightbulb is pushed to its limit creating a blindingly bright light for the audience as well, and lifting a veil on the stage for a brief moment.
In this play two of the strongest traits of Blanche is her hate for the naked lightbulb and what it does to her complexion, and her love for hot baths. It is this that makes the use of both the lighting and the rain such interesting choices. It is those things that in turn destroy her. I also feel it hints at the idea that we are viewing the action from the perspective of Blanche rather than an outside view.
Every performer understood their character and executed it with professionalism. The beauty in this production was in the differentiation between characters, highlighting the complexities of humanity. I could tell that many in the audience were there to see Paul Mescal, and whilst I’ve spoken previously about my annoyance with stunt casting this was another outlier. For the most part the audience were quiet and respectful throughout, and Mescal was incredible as Stanley. Unlike the previous production of this play I saw, Mescal's Stanley was much more raw, animalistic and unnerving. He perfectly captured the nuance of the character and totally deserved the Olivier.
The stand-out performance for me was Anjana Vasan as Stella. Her performance was effortlessly subtle and timid, as the character should be, but showed personal strength and responsibility when it was called for. Without asking us to notice or telling us, she made Stella’s internal dilemma crystal clear. We could understand why she stuck up for her sister, why she stayed with her husband despite being level headed enough to realise the position she was in. She was bold in her decisions, and whilst appearing on the surface as weak and vulnerable she stood up for herself and those around her. It was wonderful to watch and played off Patsy Ferran’s Blanche brilliantly.
I don’t know how to feel about Patsy Ferran’s portrayal of Blanche. It was obvious she had an incredible understanding of the character, but there were a few choices I was unsure about. Compared to the rest of the cast she used a lot more hand gesture and just movement in general when talking for long periods of time, and to begin with I found it really off putting. It grew on me as she built the other frantic aspects of the character, and it did fit that wild nature, but it never quite let me fully believe in her character. It seemed to lack some sort of truthfulness of humanity. The character is definitely supposed to be more heightened and agitated, but out of all the characters she felt the most like a character than a person who was experiencing the story first hand. In contrast I thought her vocal tone was stunning, her pacing and ability to sound panicky without it becoming unintelligible. There was variation within her speech which is difficult to balance in this character. The final thing I want to discuss about Blanche was the portrayal of age. Originally I felt she was too young, perhaps due to seeing Gillian Anderson in the role previously, but the more I think about it I actually think it was about right. Having the sisters of a similar age created a really nice dynamic, and both actors played with that juxtaposition. I also feel that this portrayal was much closer to Williams original intention for the character. The stage of life in which we find her is different with it taking place in 1940’s where women got married and had families at a much younger age. Therefore maybe her age in this is a much more realistic portrayal.
The direction of the piece was stunning. I adored the mix between realism and movement. The way’s in which it had a dreamlike state, late nights in New York, enhancing the storytelling of the show. I found the inclusion of Blanche's lover really interesting. It worked well in the context of the play, adding to Blanche’s view of life, and helping to provide the audience with an insight into her past. I also found it interesting how he was presented in a smart shirt, suspenders and glasses, hinting at the idea that he was quite an academic man, a contrast to the sort of men we are led to believe Blanche would hang around with now. Similarly ensemble moments, primarily during party sequences and animalistic fight scenes, were wonderfully choreographed again with attention to the overall image of the performance. It also helped to highlight more of those ideas within the text which are inferred but not necessarily obvious, leading us to see Blanche's perspective more clearly.
All of this movement and ensemble work was elevated by the use of drumming throughout the piece. Again bringing forth the rawness and brutality of the play now through the human sense of listening. It could shock an audience, build suspense, and add to the overall soundscape of the piece whilst holding a purpose within the story. It was a really creative choice, adding music and texture without any other instruments which could have made it appear too dainty or soft, contrasting further with the eery silence of the space and the rare glimmer of home from the radio. The opening beat of the play, making the audience jump in their seats, and mixed with the flashing lights of a party, immediately brought us into the bustling city of late night New York.
Overall this production is a beautiful representation of how classic plays can be revitalised for a modern audience, whilst holding and bringing forth the searing pain and emotion that they originally held. It is a spectacle to behold and I am so glad this second run is allowing even more audiences to experience it.
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