The newspaper The Australian has named Cate one of the 50 most influential Australians. Here is what they have to say about her:
Of Blanchett’s performance, John Lahr in The New Yorker wrote that he was unlikely to see better in his lifetime.
During her time as co-artistic director of Sydney Theatre Company, she appeared on stage almost every year: a remarkable run of performances by an actor so in demand at home and abroad. Sometimes it seemed that she must have a double. One day she would be treading those hardwood boards at Sydney’s Wharf Theatre, the next sinking her high heels into crimson Axminster carpets in London or New York.
She does grandeur, vulnerability and so many shades in between. In recent years she has specialised in broken souls teetering on the edge of collapse: her febrile Blanche in A Streetcar Named Desire, lost Lotte in Botho Strauss’s Gross und Klein, and Jasmine in Woody Allen’s Blue Jasmine.
Blanche was a role that Blanchett was destined to play. In an audacious move, STC in 2009 took its production of Streetcar to New York, where the play was first performed in 1947. Of Blanchett’s performance, John Lahr in The New Yorker wrote that he was unlikely to see better in his lifetime.
With her writer-director husband Andrew Upton, she made STC an international company, bringing collaborations with such figures as Liv Ullmann, William Hurt, Isabelle Huppert and the late Philip Seymour Hoffmann. When she collected her second Academy Award this year, for Blue Jasmine, she thanked “every single member of Sydney Theatre Company”. Not many theatre troupes get a name-check on Oscars night.
Blanchett is an actor who has not exhausted her dramatic potential, and leaves audiences guessing as to what she might do next. A few years ago there was talk of her doing Antony and Cleopatra opposite Richard Roxburgh. That would be something to see.