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A Streetcar Named Desire (Heinemann Plays for 14-16+), by Tennessee Williams
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The Heinemann Plays series offers contemporary drama and classic plays in classroom editions. Many have large casts and an equal mix of boy and girl parts. This play depicts the conflict between a fading Southern belle and the brash lower-class society of her sister's family.
- Sales Rank: #3709796 in Books
- Published on: 1995-01-09
- Original language: English
- Number of items: 1
- Dimensions: 7.99" h x .51" w x 5.43" l, .53 pounds
- Binding: Hardcover
- 160 pages
From Publishers Weekly
Williams's classic play begins with Blanche DuBois's arrival in New Orleans to stay with her sister and brother-in-law, Stella and Stanley Kowalski. The determinedly genteel Blanche is shocked by their lower-class lifestyle—and by Stanley's frequently aggressive behavior. As Blanche's secrets catch up with her, a seedy reality trumps her love for romance. Rosemary Harris embodies Blanche with all the flare, attitude and Southern drawl commonly associated with the cultural icon. The role of Stanley is so physical that his presence is diminished by the lack of a visual performance, but James Farentino's Stanley is excellent. The overall production quality is excellent with musical segues and sound effects that enhance without distracting the listeners. This recording captures the cast of the 1973 Broadway revival (which won Harris a Drama Desk award and Farentino a Theatre World award). (Feb.)
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Review
Lyrical and poetic and human and heartbreaking and memorable and funny.--Francis Ford Coppola
About the Author
Tennessee Williams (1911-1983) is the acclaimed author of many books of letters, short stories, poems, essays, and a large collection of plays, including The Glass Menagerie, A Streetcar Named Desire, Camino Real, Cat on a Hot Tin Roof, Orpheus Descending, The Night of the Iguana, and The Rose Tattoo.
Most helpful customer reviews
46 of 50 people found the following review helpful.
Williams's Intense Desire
By Blaine Bisel
Tennessee Williams's masterfully written drama explores the extremes of fantasy versus reality, the Old South versus the New South, and primitive desire versus civilized restraint. Its meager 142 page spine is no indication of the complexity and significance that Williams achieves in his remarkable work. A strong aspect of the play is Williams's amazingly vivid portrayal of desperate and forsaken characters who symbolize and presumably resolve his battles between extremes. He created and immortal woman in the character of Blanche DuBois, the haggard and fragile southern beauty whose pathetic last grasp at happiness is cruelly destroyed. She represents fantasy for her many outrageous attempts to elude herself, and she likewise represents the Old South with only her manners and pretentions remaining after the foreclosure of her family's estate. The movie version of A Streetcar Named Desire shot Marlon Brando to fame as Stanley Kowalski, a sweat-shirted barbarian and crudely sensual brother-in-law who precipitated Blanche's tragedy. He symbolizes unrestrained desire with the recurring animal motif that follows him throughout the play. A third major character, Stella Kowalski, acts as mediator between her constantly conflicting husband and older sister. She magnifies the New South in her renounce of the Old pretentions by marrying a blue collar immigrant. Conflicts between these and other vividly colorful characters always in light of the cultural New Orleans backdrop provide a reader with a lasting impression and an awe for Williams's impeccable style and intense dialogue.
22 of 24 people found the following review helpful.
What happens when an irresistible force meets an immovable object?
By Jason Kirkfield
This is another classic from my high school days that seems wasted on youth. How can a fifteen-year-old in prep school appreciate the desperation and human frailty of Blanche DuBois? Or the dichotomy inherent in Stanley Kowalski's passionate brutality?
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BLANCHE: What you are talking about is brutal desire--just--Desire!--the name of that rattle-trap street-car that bangs through the Quarter, up one old narrow street and down another...
STELLA: Haven't you ever ridden on that street-car?
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Many will have seen either the stage or film versions of Streetcar, but reading through Tennessee Williams' Pulitzer Prize-winning play allows for the depression to really set in. Readers may even recognize qualities in friends and family members approximating those of alcoholism or domestic violence.
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BLANCHE: A hot bath and a long, cold drink always give me a brand new outlook on life!
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There are so many great dialogue exchanges here, outside of the classic "kindness of strangers" quote. I'll snip a few of my favorites.
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MITCH: You ought to lay off his liquor. He says you been lapping it up all summer like a wild-cat!
BLANCHE: What a fantastic statement! Fantastic of him to say it, fantastic of you to repeat it!
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The abusive domestic relationship seemed a common theme in mid-20th Century America; witness both Streetcar and The Honeymooners. "One of these days...POW! Right in the kisser! One of these days Alice, straight to the Moon!"
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STANLEY: When we first met, me and you, you thought I was common. How right you was, baby. I was common as dirt. You showed me the snapshot of the place with the columns. I pulled you down off them columns and how you loved it.
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Very easy to get through this in a sitting or two. Very hard not to be emotionally moved, even if the dénouement, vis-a-vis Stanley and Blanche, was not obvious to me after that first reading many years ago.
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BLANCHE: Don't you just love these long rainy afternoons in New Orleans when an hour isn't just an hour--but a little piece of eternity dropped into your hands--and who knows what to do with it?
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Postscript: My own copy is the mid-80s Signet printing, which includes a 4-page Introduction by the author.
9 of 9 people found the following review helpful.
Deception within the family
By DG
Deception seems to be one of the most salient themes. As Goleman writes, "We are piloted in part by an ingenious capacity to deceive ourselves, whereby we sink in obliviousness rather than face threatening facts."
Blanche buries her devious past with a new start in New Orleans and skirts questions with a swift wit in conversation. She waters down the pains and frustrations of the past with concealed drinking and shrouds her aging face from gentleman callers in a soft light. She delusionally and openly believes that a fictional Texas oil magnate will arrive to whisk her away from yet another prison she finds herself in.
Blanche maintains a very interesting relationship with Stanley, the bane of her existence in the French Quarter. While Stanley is ostensibly boorish and untamed, Blanche poorly masks these same latent characteristics in her own personality with a ladylike charm, frequent bathing, and heavy perfume. Her attacks on Stanley are actually projections, effectively assaults on the qualities she hates most about herself. Her outward disdain for her sister's husband is likely an aggressive reaction to what is better known as jealousy.
What's more, this behavior runs in the family (another universal Williams theme). Stella convinces herself that an abusive relationship is fit to raise a child in. And at one point, the sisters recall their mother's refusal to accept her own mortality and her imploration to her young daughters to participate in this shared collusion.
In the final scenes of the story, as Stella is giving birth to their son, Stanley finishes what he started, defeating Blanche completely in a territorial act of rape. When Blanche finally does choose to embrace honesty and come clean with Stella about the crime, her sister refuses to believe her and locks her away with the truth in an asylum, in step with what we'd expect from the DuBois family.
The play was originally to be named "The Poker Night," and like "The Glass Menagerie," this image is an appropriate symbol to help unify the piece. As Williams writes it, poker, a game of deception, is not just played by the men in this play.
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