"Something about this current production from the get-go, directed with perfection by Benedict Andrews, just swings out and knocks us over...Anderson takes us through an emotional journey that is epic, devastating, and deeply affecting...It’s a majestic and heart-wrenching performance, and not to be missed." Full Review
“Benedict Andrews' brilliant new production makes you feel as if this classic play was written just yesterday...The immediacy of this ‘Streetcar’ comes from the galvanizing intensity of the actors, and from the genius of Andrews' staging...These actors leave nothing on the table, and in the end, neither does Andrews...It's that kind of show: transporting, thrilling, nerve-jangling.” Full Review
"Sometimes a production comes along that shakes up a classic, and you feel that you’re seeing it for the very first time. Such is the case of Benedict Andrew’s stunning 'Streetcar'...The strength of Andrews’s production lies in its rawness and primal energy. By stripping away the colorful atmosphere of New Orleans and paring the play down to the bone, Andrews focuses fiercely on the characters and their intense relationships." Full Review
"This brave new 'Streetcar' takes a lot of risks, yet most of them pay off...Such an interpretation largely strips 'Streetcar' of its poetry. And there were certainly moments when I missed that poetry. But I was also willing to trade the delicate lyricism for genuinely original insights...This unusually dynamic 'Streetcar' plays more on our nervous system than with our hearts. But when Blanche finally goes down for the count, it’s impossible not to feel a choking rush of compassion." Full Review
"The acclaimed production is very tight, despite its three-hour run time, and presents a raw, brutal new staging…Anderson fits the bill perfectly as a woman who might be reaching the end of her saleable days…Powerhouse Ben Foster plays her antagonist Stanley Kowalski with an everyman violence that almost surpasses Marlon Brando in the role...But it's his vulnerability, especially in the scene where he cries and howls for Stella, that elevates him from mere caricature." Full Review
"Foster, who seems to have mixed Cross Fit with Häagen-Dazs in his prep for Stanley, unselfishly resists the charismatic impulses of the part, playing him more as a banal slob. And that allows the transcendence and meaning of Anderson’s performance as Blanche to dominate...Anderson’s Blanche DuBois is such a real creation...And the sonic thunder of applause that comes from the audience should leave her no doubt, now or ever again, that she can always rely on the kindness of strangers.” Full Review
"This 'Streetcar' is fleshy, bloody, and completely alive...Anderson grippingly portrays a woman accustomed to surviving on her charms, now entering an economy in which such skills are not valued...As American society continues to grind forward, those left in the lurch by this rapid transition might be tempted to identify with a solid union man like Stanley; but upon closer inspection (which this production thrillingly offers), they're likely to find more empathy with Blanche." Full Review
"Flashy, canny, poignant...What’s remarkable in Andrews’s production is how current and often vital the material feels...Anderson is a haunting Blanche, imperious and frail, vicious and injured...Foster inhabits Stanley’s erotic fascination and violent temper without apology or ostentation. Andrews builds his production around their climactic confrontations, but some of the quieter moments register most strongly." Full Review
“A gritty and gripping production...This production, directed by Benedict Andrews, unforgivingly refuses to offer the audience any sense of illusion...Anderson brings Blanche to trembling, desperate life...Foster inhabits Stanley with a much more casual attitude...Surprising at first, this offers even more shock and despair when, drunk with his male friends, Stanley erupts in violence.” Full Review
"Whatever the virtues and follies of director Benedict Andrews' self-consciously radical in-the-round regietheater staging, it gives us an incandescent Blanche...And in a production in which the actors' work is more consistently persuasive than the conceptual choices, it also gives us Ben Foster's distinctive Stanley Kowalski, a physically and psychologically considered characterization that sidesteps the long shadow of Marlon Brando." Full Review
"It’s hard to endure the nonstop motion for 3½ hours. After a while, it comes off as an unnecessary gimmick...That aside, this is a great production. The play works unexpectedly well set in the present day and without the traditional Southern Gothic look...Anderson gives a wholly complete performance as Blanche that depicts the tragic character in all of her mental and emotional extremes." Full Review
"Anderson’s interpretation strikes a note of dissonance with the other performances from this cast—it will surely be a polarizing point for audiences; I liked it. Inarguably, it’s almost as if she were in an entirely different play from the other performers...This is an enjoyable interpretation of an American classic, unfrozen from its typical place in time. If 'Streetcar' doesn’t expose the emotional crises of its central characters, there’s no point watching it." Full Review
“The spareness and simplicity of Magda Willi’s minimalist cream-and-white set engage the audience...Gillian Anderson’s vivid Blanche is tougher than many other interpretations, making her downfall all the more extreme and meaningful as she gradually disintegrates...Ben Foster’s Stanley struts like a proud rooster throughout, but was for my taste a bit too one-note...Altogether, a terrific theatrical offering and a fine Tennessee Williams rendition.” Full Review
"Though these two may have a date with destiny, there is no spark between them. This proves to be the best thing Andrews could do with the play, by giving us a Blanche we can respect and a Stanley we cannot...It certainly finds new and welcome readings in Williams’ classic, which is what the best adaptations do...Andrews and Anderson keep a tight hand on the madness card, but they play, unflinchingly, the woman card, and it feels like Williams would agree." Full Review
"Although there’s much to praise, the laurels go mostly to the cast. About other prominent aspects, there’s much to question...The cast members behave for the most part as if they’re in circumstances not compromised by the physical attributes provided here...The argument is being made that modernizing 'Streetcar' is a perfectly reasonable approach to new productions. That may be, but if so, the modernizing displayed here isn’t the right modernizing." Full Review
"Everything in Andrews’s fascinating yet too-often-unaffecting interpretation aims big but in fact points toward smaller ways of understanding the play...The play is so phenomenally well written that there is much to gain from even an everted, objet d’art presentation like this one...Still, the production is too indulgent in sweeping away the implications of its choices, beginning with its stars." Full Review
"Anderson's star turn in 'A Streetcar Named Desire' is a mixed bag. So is the revival of the 70-year-old drama...Her overripe posturing and fresh-from-the plantation drawl feel out of place in a production so contemporary that you could call it 'A Streetcar Named Ikea'...The impulse to ask audiences to pay attention and shift perspective on a well-known work is a good one by Benedict Andrews, even if it isn’t terribly enlightening." Full Review
"There’s a fiery revival of Tennessee Williams’s great drama buried under the truckload of 1990s regietheater clichés that Benedict Andrews dumps all over...Andrews once more apes experimental staging tactics you find in productions from Thomas Ostermeier or Ivo van Hove—minus the intellectual or emotional engagement...Anderson’s Blanche and Ben Foster’s Stanley strike sparks, but they’re quenched under cold design and drafty, portentous pauses." Full Review
"If only this London import were better...Anderson and co-star Ben Foster have little to no erotic rapport. There’s a reason this play isn’t titled 'A Streetcar Named Class War'...As for Benedict Andrews’ production as a whole, it’s often maddening, and not in a good way...Pop music, a high-tech white set, Blanche’s Vuitton bag: The show displays all the signs of contemporary theatrical coolness. Yet there’s little gut underneath that hip surface." Full Review
"The concept is a near disaster...In Andrews’ 'Streetcar', it’s not that Foster plays Stanley as a total brute. The bigger problem is that Anderson plays Stanley’s idea of Blanche...Because she is a very talented actress, Anderson is always entertaining to watch. She mines the character’s considerable humor, but not with a scalpel. She uses a jackhammer...Anderson’s idea of illusion is all Maybelline and Aqua Net." Full Review
"My reservations about Benedict Andrews's slick, vacuous production began with the set...The gleaming cube serves as a lavish but empty display case for a couple of rampant star performances...This production transpires in a vacuum, the play's markers of place and time ignored or misapplied...The production does have its rewards. Anderson's Blanche, aflutter with roiling tension, sighs her lines in singsong Southern cadences…Like Blanche herself, the production overstays its welcome." Full Review
“If the set design is more distracting than it might be, neither does it add anything...Anderson has her successes but this isn't a Blanche DuBois to add to one's memory book...Foster is not an ideal Stanley; he's a bantam presence...For all its melodrama, 'Streetcar' needs very careful handling, something it doesn't get here. Andrews' starkly theatrical approach manhandles Williams' text.” Full Review
"This 'Streetcar' is a shocking disappointment. Clocking in at an overheated but glacially slow three hours and 15 minutes, the production is heavy with phony rawness, look-at-me histrionics and a see-through contemporary set...Everyone in the play talks about Blanche’s refined demeanor, but Anderson’s one-note portrayal is hard, shrill and slutty from the start...Tennessee Williams is the one here who could have used protection." Full Review
for a previous production "Never have I seen a production of the play that was so raw in its emotion, so violent and so deeply upsetting...Staging is equally compelling...Performances are superb, with Gillian Anderson giving the performance of her career...There isn't a moment when the tension slackens or attention lapses. It is an absolute knock-out." Full Review
for a previous production "Benedict Andrews's version steams off the stage with pain, excitement and clamour...Andrews's main interventions here are visual, taking you into the core of the play...The evening belongs to Anderson, who makes each phase of the DuBois disintegration her own...Her collapse is spectacular: a terror of blotched lipstick and flying petticoats. Her departure is a masterclass in how to make audiences weep." Full Review
See it if you want to see the most haunting and incredible staging ever seen - this is my favorite play & this was like nothing I've seen before
Don't see it if you don't have a pulse (I saw it 3 times and with the staging it felt like 3 different shows)
See it if You've never seen streetcar or only know the Marlin Brando version. Incredible and original staging in the new st Anne's warehouse.
Don't see it if If you don't like intense drama, dislike Tennessee Williams or are looking for the screen version with brando
See it if You like this production and want to see a new staging with an INCREDIBLE cast. See it if you're any kind of fan of Gillian Anderson!
Don't see it if You don't like intense drama or aren't a fan of Tennessee Williams. Don't see it if you are triggered by sexual violence.
See it if you want to see a new spin (literally) on an old classic, in a masterful MUST SEE refreshing take. W brilliant takes on classic roles by all
Don't see it if you hate theatre. Or life.
See it if You love great performances. Young Vic led by Gillian Anderson/Ben Foster takes a classic drama into a new dimension Incredible to watch!!!!
Don't see it if You expect the X-Files or action heroes. Hate to be captivated or sit still for 3 hours in a hushed theatre Love happy endings
See it if you like seeing a classic brought into modern times; you love transformative acting (Gillian Anderson....WOW); you are ready to be STUNNED
Don't see it if you are attached to a previous 'Desire' version already; you don't have the patience for 3.5 hours (though they fly); you hate rotating sets
See it if you want to see a great rendition of a classic. The staging here is amazing. the technical aspects are stellar and Anderson is enthralling.
Don't see it if you don't like long shows or very loud noises.
See it if You want to see a classic play in an entirely new way. This production also features some of the best performances you will ever see.
Don't see it if You don't like Tennessee Williams or if you don't like loud noises. This show doesn't hold back, so just enjoy the ride.
See it if You want to see a fresh, timely take on a canonical piece. All actors great esp Gillian A. Moving and mesmerizing
Don't see it if You dislike this play or long (nearly 3 hour) plays in general; quibble about imperfect accents (Blanche). Moving sets make you dizzy.
See it if you want an original interpretation of a classic play. The set was amazing and Anderson was a tour de force, I'd go just to see her.
Don't see it if you don't like Tennessee Williams' works, theater in the round, or an intense portrayal of a woman's mental demise.
See it if If you want to have your mind blown by the incredible acting & staging! Well deserved standing ovation! Fabulous production!
Don't see it if You are squeamish of spinning objects, loud sounds, blood or violence.
See it if you're looking for a new interpretation of an old classic. Gillian Anderson is incredible and the hours fly by.
Don't see it if you don't enjoy leaving Manhattan (but you totally should to see this show).
See it if superb production. Gillian is an actress for the ages. Must see! Jaw dropping. 3:30 hr? Really? Felt like half that. A privilege to see.
Don't see it if you refuse to leave Manhattan. Ben was the weakest link. Not bad. Not to be paired with Gillian though.
See it if Mesmerizing production & a masterclass performance by Gillian Anderson! 3.5 hours has never been this riveting or gone by so fast! Must See!
Don't see it if You don't enjoy a demi-modern take on a classic! This will be a memorable production for years to come! Get tickets... if you still can!
See it if you're ready for a stunning new interpretation of one of the greatest plays ever written. Gillian Anderson is astounding. Truly astonishing.
Don't see it if you prefer traditional productions of STREETCAR or can't sit for long shows. Ben Foster is a far from Brando as one can imagine.
See it if you are interested in a tour de force performance by Gillian Anderson. Completely absorbing and intense. Like nothing I've seen from her!
Don't see it if trigger warning for domestic violence and sexual assault. Very long play, and very dark, but brilliantly staged.
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