{"id":371,"date":"2022-10-05T01:03:41","date_gmt":"2022-10-05T01:03:41","guid":{"rendered":"https:\/\/performingartslegacy.org\/warnerrichard\/?p=371"},"modified":"2022-11-28T18:49:02","modified_gmt":"2022-11-28T23:49:02","slug":"streetcar","status":"publish","type":"post","link":"https:\/\/performingartslegacy.org\/warnerrichard\/streetcar\/","title":{"rendered":"Streetcar"},"content":{"rendered":"

I always enjoy rehearsing with an ensemble of adventurous actors. I find equal pleasure creating the world of a production collaborating with skillful designers. And when you are working on a masterpiece like A Streetcar Named Desire<\/em> by Tennessee Williams, the work becomes even more meaningful and artistically satisfying.<\/span><\/p>\n

My research for the 1999 Production of Streetcar <\/em>at the University of Virginia Department of Drama began with some inspiration from the writer and from the director of the original Broadway production, Elia Kazan.<\/p>\n

This is a message from the dark interior. This little pathetic, confused bit of light<\/em>
and culture put out a cry. It is snuffed out by the crude forces of violence,<\/em>
insensibility and vulgarity which exist in our South \u2013 and this cry is the play.<\/em>
\n\u2026Elia Kazan<\/p>\n

\tOur illusions are all we have, any of us. That\u2019s what \u201cStreetcar\u201d is about. Some<\/em>
people, maybe most people, can live by illusions, and the cruelest thing is the<\/em>
world is to deprive them of those illusions, which is what Stanley does to Blanche.<\/em>
\n\u2026Tennessee Williams<\/p>\n

Our scenic designer was Bill Clarke. We began our collaboration with some images to shape our thinking about the environment. We decided to keep the play in the time frame that Tennessee gave us and in New Orleans. <\/p>\n<\/p>\n

Some images, including Vincent van Gogh\u2019s The Night Cafe which offered us the mood and atmosphere we were hoping to achieve.<\/p>\n[aesop_gallery pslightbox=”on” transition=”crossfade” galleryType=”grid” id=”388″]\n

Several early rough sketches from Bill Clarke as our ideas emerged<\/p>\n<\/p>\n[aesop_gallery pslightbox=”on” transition=”crossfade” galleryType=”grid” id=”389″] [aesop_image force_fullwidth=”off” lightbox=”off” captionposition=”left” captionsrc=”custom” align=”center” imgwidth=”75%” img=”https:\/\/performingartslegacy.org\/warnerrichard\/wp-content\/uploads\/sites\/275\/2022\/10\/7.RW_.Streetcar.Hilites-scaled.jpg” panorama=”off”]\n

Bill\u2019s white model<\/p>\n<\/p>\n

[aesop_image force_fullwidth=”off” lightbox=”off” captionposition=”left” captionsrc=”custom” align=”center” imgwidth=”100%” img=”https:\/\/performingartslegacy.org\/warnerrichard\/wp-content\/uploads\/sites\/275\/2022\/10\/8a.RW_.Streetcar.Hilites-scaled.jpg” panorama=”off”]\n[aesop_gallery pslightbox=”on” transition=”crossfade” galleryType=”grid” id=”390″]\n

Our costume designer was my faculty colleague, Kathryn Rohe. Kathryn\u2019s early rough images of the costumes greatly inspired me. They capture the essence and energy of each character.<\/p>\n[aesop_gallery pslightbox=”on” width=”50%” galleryType=”thumbnail” id=”391″]\n

A few production photos by Michael Bailey<\/h6>\n<\/p>\n[aesop_gallery pslightbox=”on” transition=”crossfade” galleryType=”hero” id=”392″]\n","protected":false},"excerpt":{"rendered":"

I always enjoy rehearsing with an ensemble of adventurous actors. I find equal pleasure creating the world of a production collaborating with skillful designers. And when you are working on a masterpiece like A Streetcar Named Desire by Tennessee Williams, the work becomes even more meaningful and artistically satisfying. My research for the 1999 Production […]<\/p>\n","protected":false},"author":298,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-371","post","type-post","status-publish","format-standard","hentry","category-highlight"],"metadata":{"_edit_last":["298"],"_wpac_members_redirect_to":[""],"_wpac_show_in_search":["0"],"_wpac_show_excerpt_in_search":["0"],"_wpac_nonmembers_redirect_to":[""],"ase_chapter_enable_timeline":["off"],"ase_map_component_start_point":["a:2:{s:3:\"lat\";d:29.76;s:3:\"lng\";d:-95.38;}"],"_wp_old_date":["2022-10-14"]},"acf":[],"yoast_head":"\nStreetcar - Richard Warner<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/performingartslegacy.org\/warnerrichard\/streetcar\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Streetcar - Richard Warner\" \/>\n<meta property=\"og:description\" content=\"I always enjoy rehearsing with an ensemble of adventurous actors. 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