Perhaps it is because of the strong presence of music in the plot and staging of Streetcar that it is sometimes thought of in terms of musical theater.
The great theater conductor Lehman Engel, in his influential work on the Broadway musical libretto, "Words With Music," identified the emotion and pathos and passion of Streetcar as prime material for musicalization, contrasting it to the work of more cold-blooded contemporary dramatists like Albee and Pinter. Bernard Holland at the New York Times suggested that Blanche's speeches are essentially spoken arias and that the poker games are crying out to become ensemble numbers.
But both of these commentators answered their own questions as to why Streetcar is so fundamentally a straight play, despite all the musical qualities. Engel observes that characterizations in musicals, especially from the classic period, are immediate and uncomplicated. We are told who everyone is as soon as they step on stage, and the story moves forward through action alone. She enters unannounced, unmentioned, and we spend the next 90 minutes figuring out just who she is — and we don't really get the answer until the last few scenes of the play.
And following the premiere of Andre Previn's opera of Streetcar — which did not adapt the play but rather used the original text as the libretto, setting Williams' words directly — Holland's review in the Times criticized the adaptation's characterization. The power of the play, he writes, lies in "the gradual disintegration of Blanche's outer defenses, not in sensuous arias.
But no one has commented as thoroughly and effectively on the un-musical nature of the original play as that unimpeachable source of cultural and literary commentary: "The Simpsons.
From what we see of this musical, it opens with an ensemble number denigrating "stinking rotten vomiting vile New Orleans;" provides Blanche with a standard introductory number "I'm a faded Southern belle without a dime" ; lets Ned Flanders as Stanley power-ballad his cries for Stella "Can't you hear me yell-a? You're puttin' me through hell-a. Stella, Stell-ahhh! In short, Oh! I need to to thank you for ones time just for this fantastic read!!
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Share this: Twitter Facebook. Like this: Like Loading Embedding Vocabulary into the Curriculum: Romeo and Juliet. It is a material object and when it collapses or is taken away, all that is left is a naked, boring bulb; just as Blanche is left looking like a worn down, aging widow. Her desires led her to leave and go to Stella. Additionally, Kowalski has deep Polish roots.
Their family history and origins create a contrast just from their names. Both Stanley and Blanche drink excessively at various points during the play. Stanley Kowalski: A rather common working man, about twenty-eight to thirty years old, his main drive in life is sexual. He is a former master sergeant in the engineer corps and faces everything and everybody in his life with a brutal realism.
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