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Inspired is the casting of Blanchett-lookalike Debicki as the mistress. She is the overly polished “blue” Jasmine before her husband lost all his money, went to jail, and committed suicide. Like all great actresses, Blanchett already has her imitator, and it*s nice to report that Debicki beat the drag queens to the job.
That’s largely because of Ms. Blanchett, who won the Oscar this year for Woody Allen’s “Blue Jasmine” and has been seen to dazzling effect in New York with the Sydney Theater Company productions of “A Streetcar Named Desire” and “Uncle Vanya.” Once again, she proves herself to be the ruling mutation master among contemporary actresses.
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In doing so, Ms. Blanchett would seem to deploy every theatrical tool that she has at her command, though I suspect she still holds a few in reserve to surprise us the next time we see her.
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By the way, in the very first pages of the Playbill for “The Maids,” you’ll find a double-page ad for a Giorgio Armani fragrance, featuring an exquisitely serene model. That’s Ms. Blanchett. It seems highly appropriate that onstage the same woman is tearing that image to shreds. This perfume goddess is stinking to high heaven. I mean that as a major compliment.
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In doing so, Ms. Blanchett would seem to deploy every theatrical tool that she has at her command, though I suspect she still holds a few in reserve to surprise us the next time we see her.
……
By the way, in the very first pages of the Playbill for “The Maids,” you’ll find a double-page ad for a Giorgio Armani fragrance, featuring an exquisitely serene model. That’s Ms. Blanchett. It seems highly appropriate that onstage the same woman is tearing that image to shreds. This perfume goddess is stinking to high heaven. I mean that as a major compliment.
Blanchett’s lack of vanity is worth its own applause. And so is her performance, which filled with ferocity, humor and vulnerability. Debicki, another Aussie who’s fabulously vulgar, is as terrific. She looks like a young Blanchett. And then there’s Huppert, who’s antic but one-note. And with her French accent — thicker than Pepe Le Pew’s — her speeches get lost even when you strain.
Blanchett is particularly resourceful, and harrowing, in showing us Claire*s desperation, which extends to using her mistress*s personal items to land the master in legal trouble. Facing her employer (Elizabeth Debicki, in a deliciously vulgar performance) after her plot has been foiled, if not exposed, Blanchett*s Claire crumples, and the thinness of her fortitude is made devastatingly plain.
Huppert doesn*t bring quite the same range, or clarity, to her role. Flapping her still-agile limbs about, she provides a droll foil to Claire*s fragile strength; but a lengthy monologue that requires Solange to summon her own ferocity toward the end doesn*t pack the punch that it should.
Still, it*s a pleasure to see a pair of great actresses tackle challenging material with such un-self-conscious devotion.
Huppert doesn*t bring quite the same range, or clarity, to her role. Flapping her still-agile limbs about, she provides a droll foil to Claire*s fragile strength; but a lengthy monologue that requires Solange to summon her own ferocity toward the end doesn*t pack the punch that it should.
Still, it*s a pleasure to see a pair of great actresses tackle challenging material with such un-self-conscious devotion.
At center stage, Blanchett’s Claire, in an extravagant parody of her employer, sits at a vanity with her back to the audience, applying makeup. A lens behind the dressing-table mirror captures in extreme close-up the beautiful planes of Blanchett’s face, but also the haunted cast of the eyes — a suggestion of an anguish underlying the bravado.
Blanchett has been more haunting still on the stage, as Blanche in the stunning production of “A Streetcar Named Desire” that, as then-co-artistic director of Sydney Theatre Company, she brought to the Kennedy Center in 2009. She’s been funnier, too, as evidenced by her exuberant take on Yelena in “Uncle Vanya” at the center two years later. But as the turbulent, histrionic Claire, never has she seemed freer.
Blanchett has been more haunting still on the stage, as Blanche in the stunning production of “A Streetcar Named Desire” that, as then-co-artistic director of Sydney Theatre Company, she brought to the Kennedy Center in 2009. She’s been funnier, too, as evidenced by her exuberant take on Yelena in “Uncle Vanya” at the center two years later. But as the turbulent, histrionic Claire, never has she seemed freer.
At Saturday’s matinee, Nicole Kidman was front and center with “Hedwig” creator John Cameron Mitchell. “Inside Llewyn Davis” star Oscar Isaac was sitting behind me. I saw composer Philip Glass in the foyer. Broadway producer Jean Doumanian (August: Osage County), was there, as well as famed casting director Amanda Mackey and “Get on Up” producer Victoria Pearman.
台上台下一样星光熠熠
台上台下一样星光熠熠
