Two and a half stars. I'm rounding it up because of my deep love for the source material.

"A Streetcar Named Desire" is truly one of my all-time favorite plays. So, after having this book in my possession for numerous years, I was filled with excitement to finally read it. There are indeed some wonderful little nuggets of information within its pages, and at times, there is a keen and perceptive look into the kind of man Tennessee Williams was.

However, I simply couldn't tolerate the gossipy and overly catty tone of the writing. It was truly a disappointment. Honestly, it completely spoiled what could have potentially been a four or five-star book for me. The negative tone overshadowed the interesting aspects and made the reading experience less enjoyable than it could have been.

Despite my love for the play, this book failed to live up to my expectations due to its off-putting writing style.

The play and movie have an incredibly great backstory that is truly a must-read. It offers a fascinating glimpse into the creative process and the events that led to their development. The details provided in the backstory add depth and context to the overall experience, making it even more engaging. Whether you are a fan of the play or movie or simply interested in the behind-the-scenes workings of the entertainment industry, this backstory is sure to captivate you. It is filled with interesting facts, anecdotes, and insights that will leave you with a newfound appreciation for the art form. So, don't miss out on this opportunity to explore the rich and compelling backstory of the play and movie. It's a read that you won't regret!

A Streetcar Named Desire is, without a doubt, one of my all-time favorite films. It's also probably my favorite play. I've watched the classic film numerous times, and I'm always captivated. Each viewing reveals countless new details. Richard Day's production design has set the standard for all sets. Lucinda Ballard's costumes are remarkable, and Alex North's immortal jazz-influenced score adds another layer of depth. Every time I watch the movie, new thoughts come to mind.

Mr. Staggs has done an outstanding job researching both Tennessee Williams' play and the movie version. He approaches it with an affection for camp and a serious love for the art of theater and cinema. He reconstructs the casting of the original Broadway Blanche DuBois, Jessica Tandy, and the discovery of the magnetic Marlon Brando, along with actors Karl Malden and Kim Hunter. He also delves into how it became a hit movie, with Vivien Leigh replacing Jessica Tandy as Blanche.

Leigh had played Blanche in the original London production, and when Eliza Kazan and Jack Warner cast her as Blanche, it forever defined her career and personal life. Her intensity and manic depression made her real life and the character of Blanche merge. Staggs observes this with great precision, and I couldn't agree more. Vivien Leigh gives one of the most unforgettable performances on film and rightfully received a second Oscar for her incredible bravery.

Most audiences remember Marlon Brando's hyper masculinity, his greasy t-shirts, shirtless body, and the iconic screaming of Stella's name from the balcony. However, Mr. Staggs focuses his research and dedication on Blanche. He also writes about other versions and revivals of the play, two other film adaptations, and an opera. But I feel his heart remains with the film, as it's the only recorded document where we see four actors who originated their parts on stage and then transferred them to film posterity.

Postscript: I was incredibly lucky to have seen a legendary stage version of Streetcar. I'm reflecting on the 2009 Brooklyn Academy of Music production directed by Liv Ullman and starring Cate Blanchett and Joel Edgerton as Blanche and Stanley. In this version, with Mr. Williams' complete play intact, Ms. Blanchett delivered what I believe is the most fully realized characterization I've seen on stage. Her portrayal cannot be compared to Vivien Leigh's haunted and broken woman. The ghost of Vivien Leigh is gently laid to rest during the three-hour duration of Ullman's interpretation because Blanchett's portrayal is so startlingly original and defiant.
Ms. Blanchett's Blanche begins the play slow and steady, with her mind intact, but eventually descends into disillusion and madness. It's a harrowing process that makes her one of literature's greatest tragic women. The production design was not a typical New Orleans apartment but was garishly lit with the harshness and melancholy of an Edward Hopper painting.
Overall, although Mr. Staggs didn't write about Cate Blanchett's version since his book was published in 2005, the film is still a must-see for those interested in a definitive production of the play or the art of acting. Both Vivien Leigh and Marlon Brando give compelling performances, and it's great to know that they respected and got along with each other. Marlon Brando even said that Ms. Leigh was perfect casting, and I couldn't agree more. Like Scarlett O'Hara, Blanche is a Southern belle, but unlike Scarlett, she can't adapt to change, making her all the more tragic and vulnerable. Thanks to Vivien Leigh for bringing both of these iconic characters to life and winning two Best Actress Oscars for them. PS - I bought this book ten years ago and finally read it cover to cover.

I have a deep affection for Staggs's engaging and flamboyant accounts regarding the production and reception of classic gay movies.

The book about All About Eve was truly remarkable, and this one comes very close.

The uproarious tale of Tallulah Bankhead's stage performance as Blanche was undoubtedly a significant highlight.

However, the entire book is filled with numerous wonderful anecdotes.

As a result, I now feel the urge to watch Streetcar again.

It's fascinating to explore the behind-the-scenes details and the various reactions these classic movies have received over the years.

Staggs's writing style makes it a truly enjoyable read, and it has definitely piqued my interest in revisiting these cinematic gems.

I can't wait to see how Streetcar will resonate with me this time around, armed with the new knowledge and insights I've gained from this book.

The book was kind of boring and dragged on.

It seemed as if there was a load of extraneous information within its pages.

This unnecessary data could have been easily cut out.

By doing so, the book could have been made shorter and more informative.

Readers wouldn't have had to dig deep to find the important points.

The author could have focused on presenting the key ideas more concisely, making the reading experience more engaging and less tiresome.

Perhaps a thorough editing process would have helped to eliminate the fluff and make the book a more valuable resource.

As it stands, the excessive information detracts from the overall quality and readability of the book.

It's a shame that the potential of the content wasn't fully realized due to the lack of proper pruning.

This book is truly remarkable as it reveals to me everything. It encompasses all the details that I have a longing to know and might potentially desire to know regarding various productions. However, it mainly focuses on the Vivien Leigh-Marlon Brando-Kim Hunter movie production.

When I embark on reading "A Streetcar Named Desire" once again, I will surely recall this campy understanding and the Blanche DuBois who seems to rise from the ashes. It's not that Blanche is like a phoenix in the traditional sense, as she simply persists in getting up and moving forward. Tennessee Williams expressed his anticipation that Blanche would manage to get out of the mental institution and commence anew. This woman simply refuses to stop.

The next time I engage in rereading "Streetcar," I anticipate having a distinct understanding, one that is more enjoyable and campy.

Since I might have the inclination to reread certain parts of this book during a reread, I am inclined to award it 4 stars. (less)

This was truly just a fun read that had me staying up way later than I ought to have been on numerous nights.

In many respects, it's like a breezy and somewhat bitchy gossip column straight from the Golden Age of Hollywood. However, it's also intertwined with a wealth of research and contains unexpected depths.

It's not a scholarly book by any means, but rather an engrossing exploration of the making of Streetcar both on stage and (primarily) on film.

Surprisingly, it's more delicious, delightful, and compelling than one might expect.

It manages to capture the essence and behind-the-scenes drama of this iconic production in a way that keeps the reader hooked from start to finish.

Whether you're a fan of Hollywood history, theater, or just a good story, this book is sure to provide an entertaining and engaging experience.

From this book, I have acquired knowledge that far exceeds what any reasonable individual could ever desire or require regarding A Streetcar Named Desire.

The writing style of this book is captivating, and so is the initial casting and the objective behind Elia Kazan's revolutionary direction, which introduced method acting into the mainstream of American performing arts.

Setting aside the groundbreaking aspect, Stagg has a tendency to be overly enthusiastic, more than I would prefer. At times, he writes deliberately like a gossip columnist for a tabloid newspaper of that era. This approach can be an effective means of communication, but it may not be compelling for those who have no real interest in learning about Vivien Leigh's mental state or Marlon Brando's libido.

Nonetheless, the book is highly informative and serves as an excellent resource to have when teaching the original text to others. It provides valuable insights and details that can enhance the understanding and appreciation of this classic work.