Word: streetcars
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...fulfilling audience’s preconceived expectations, “Sweet Bird” offers both a greater challenge and opportunity to create an innovative production than Williams’ more well-established productions, like “The Glass Menagerie” and “A Streetcar Named Desire...
There's an old tradition of gay writers (not to mention actors) expressing themselves through straight characters. Gay audiences saw themselves reflected in vivid women like Blanche DuBois in Tennessee Williams' A Streetcar Named Desire. TV and movie writers created themes and characters that were palatable to straight audiences but tripped the gaydar of knowing viewers--say, Paul Lynde's queeny Uncle Arthur on Bewitched. (In advertising, such dual signals are called gay vague.) Even Sex and the City, with its witty, sexually assertive women, was reminiscent of the old maxim "Write gay, cast straight...
...Destiny was last seen during World War II —it must have been the Nazi backup plan after the whole Holy Grail debacle in Alexandretta. Constantine’s ride, the Angel City cab, even uses the transportation-name-as-witty-commentary trick of A Streetcar Named Desire, or more recently, The Royal Tenenbaums’ Gypsy Cabs. Then the exorcism—wait, was that Sigourney Weaver from Ghostbusters lying possessed on the bed? No, just some other actress who has captured that grotesque, demonic, yet unsettlingly sexual demeanor that adds a little...
...building, from old post offices to police posts, butcher shops to banks, is fronted with an English-language plaque explaining its history. Within, dioramas depict life in the Meiji era (1867-1912). Many displays are interactive: a Kabuki troupe performs in the Kureha-za Theater, while an antique Kyoto streetcar runs to sake tastings at the city's former Nakai Brewery...
Elia Kazan, who brought Brando to fame in the Broadway production of Streetcar (1947) and directed him in Waterfront, never took credit for that or any of the other moments Brando achieved for him. "The thing he wanted from me," Kazan later said, "was to get the machine going. And once that machine was going, he didn't need a hell of a lot more." It was, of course, quite a complicated mechanism. Kazan spoke of the contrast, in Brando's work, between "a soft, yearning girlish side to him and a dissatisfaction that is violent and can be dangerous...