VICKY PEÑA, PRINCESS OF NEW ORLEANS Author: Tennessee Williams. Version: José Luis Miranda. Address: Mario Gas. Set Design: Juan Sanz and Miguel Angel Coso. Costume: Antonio Belart. Starring: Vicky Peña, Roberto Alamo, Ariadna Gil, Alex Casanovas, Anabel Moreno, Pietro Olivera, Alberto Iglesias ... English Theatre. Madrid.
However much you try, it is difficult to find in the English stage actress of some forty years which can be Blanche du Bois imagine the talent and work to establish a proper and credible character Vicky Peña, the soul of this "Streetcar Named Desire" . Jessica Tandy and Vivien Leigh were both 38 when she gave birth, the first Broadway production in 1947 and in film in 1951, respectively, to the unforgettable loser. Yet, Pena makes you forget any reference: converted with unquestionable authority Blanche du Bois, appears in the eyes of respectable as a frail creature, vulnerable, imaginative, a fish out of water who does not understand the brutality of his brother, a tormented spirit seeks a little love but do so in the wrong way lies. Southern, almost Hollywood, as if out of an old film in Technicolor, Peña rounded work that reminds us, again, that probably is the great actress of her generation. Although they 'steal' roles at 38.
highlight is fair, round, notable works, such as Mitch Alex Casanovas, another loser unable to hold on to happiness, when it gets in the way because of prejudice, one of the issues addressed Tennessee Williams, who both went into hiding to escape suffering. Or the Alamo Robert Kowalski, away from the great reference of Brando: Poplar opt for the brutal, physical, desgradable it. It does so perfectly, it is a good actor, and him spitting his contempt for Blanche and Stella superiority while gobbling food speaks volumes about the character he has.
Although the choice of this shift toward a radical Kowalski us from the little empathy that could generate the rude employee. Gas-Mario seems impeccable, moreover, his direction of actors, had moral position, and that's a dangerous road to travel: Williams tried his characters?, Should be an abuser Kowalski devoid of any hint of seduction the climax of the drama, rather than drag Blanche seems to violate?
This does not negate the value of a beautiful and dynamic assembly: the scenery, like a section cut, shows the conflict in two-dimensional, no depth, and the atmosphere is conservative. But both are functional and appropriate to let it shine a great text, versioning elegantly by Jose Luis Miranda, and, above all, a great actress in full artistic maturity.
Photo: David Ruano
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