![]() ![]() ''It's funny, it's sexually charged … language is power and that is at the heart of this play,'' Blanchett says. Upton and Blanchett decided to ''shake the dust'' off the Bernard Shaw work and focus less on the British class aspects and more on the power relations, especially that of an older man and a younger woman. Pygmalion also plays with gender and power and the power of words. ''It is a very witty, sharp, biting play.'' ''It won't be totally in period setting but there will be references to the time it is set,'' Blanchett says. In the case of Les Liaisons Dangereuses, it is what Blanchett describes as the deliciously wicked wit and repartee of the two leads, and the sexual politics at the heart of the story, which she says is as relevant now as when the original novel was written by Choderlos de Laclos in 1782. An early recording and a film version of Dylan Thomas's radio play are indelibly stamped with the dulcet tones of Richard Burton.īut each work has a special allure for the duo. In their fourth program at the STC, Upton and Blanchett are facing that challenge several times, also staging George Bernard Shaw's Pygmalion (perhaps best remembered as the 1964 screen version of the musical My Fair Lady) and Under Milk Wood. ![]() Audiences can be stubbornly loyal to the first version of a film or stage production they see. Staging works people know and love is always a challenge. ![]()
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