2. In all previous productions of Streetcar I'm aware of, the action as a whole was treated as a quasi-Darwinian struggle for survival between two opposing natures, a quietly epic showdown between rough and crude Stanley and refined and delicate Blanche that ended in a sort of sexual death-clutch. This is the legacy of Marlon Brando, who twisted Tennessee Williams's intentions by stealing the limelight for Stanley when the play was conceived as a portrait of Blanche, an exploration of her uniquely fascinating and fantastic nature.Blanchett restores that original profile to the play, playing a character whose complexity transcends description as a polar opposite of anyone or anything. There is nothing weak or unduly subordinate about Joel Edgerton's Stanley, mind you. Edgerton gives a marvelous performance, but it's clear at all times that his character is an instrument of the killing environment, not a co-equal antagonist to Blanche. This is her story, just as exclusively as if Williams had written it as an Expressionist drama with only one real character.
Any Mirror readers see this production? Is Kalb on the right track here?