Sheffield Theatres' production of A Streetcar Named Desire offers a compelling yet slightly uneven take on Tennessee Williams’ classic. When reviving a well-loved play, audiences either seek a fresh, distinctive interpretation or at least seamless direction with three powerhouse performances at its core. Josh Seymour’s version is just short of ticking both these boxes - while it boasts exceptional performances and stunning design, occasional directorial missteps slightly disrupt the immersive quality of the piece.
Set in post-World War II New Orleans, A Streetcar Named Desire follows the tragic descent of Blanche DuBois (Joanna Vanderham), a woman clinging to illusions of grandeur as she seeks refuge with her sister, Stella (Amara Okereke), and her domineering husband, Stanley (Jake Dunn). As Blanche’s past unravels, Stanley’s aggressive nature tightens its grip, culminating in an inevitable and harrowing downfall.
Vanderham’s portrayal of Blanche is nothing short of mesmerising. She embodies the character’s fragility and desperation with a gripping intensity, her hands and eyes holding an unbearable tension. In moments of deep distress, she locks eyes with the audience, her frantic stare alone capable of eliciting heartbreak. Amara Okereke as Stella also deserves high praise for her emotionally rich performance.
Frankie Bradshaw’s exposed set magnifies the suffocation of Blanche’s freedom as we see her edge further and further towards the end of her road. A particularly poignant moment follows the play’s iconic final line - Blanche, accompanied arm-in-arm by the Doctor (Jack Ofrecio, who also doubles as Allen and the paperboy), exits not through a doorway but off the rotating set itself, offering a subtle suggestion of liberation despite her tragic circumstances.
Howard Harrison’s lighting design adds another layer of poignancy. The bedroom lamp at the centre of the stage acts as a quiet but powerful anchor of action, while Blanche’s fragmented memories are given a dreamlike quality through a constellation of bulbs hovering above the apartment - adding a touch of ethereal magic to her fractured reality. It’s unfortunate that a handful of moments jarred with the otherwise slick direction; at times the blocking felt awkward and noticeably disturbed the rawness of Williams’ writing.
It may be due to Jake Dunn appearing visibly younger than his two co-stars, but his Stanley slightly lacked the confidence needed to believe the terrifying grip his character has around the apartment and its occupying women. That said, I appreciated his more toned down depiction than what we’ve seen before (Marlon Brando and Paul Mescal’s portrayals are hyper-macho and animalistic). Domestic abusers and violent men are all too often described in the news as ‘seemingly normal’ by friends and neighbours; a dangerous man is not always identifiable by sheer dominance or obvious aggression. This is mirrored well when Stanley and the rest of the cast bar Blanche change into modern-day dress after Stanley assaults Blanche (handled with artistic delicacy - Stanley rips Blanche apart by destroying a strip of paper, while Blanche watches on and de-clothes herself). We see Stanley's every day. We know him somehow.
That said, this take on A Streetcar Named Desire remains a visually stunning and emotionally raw experience. Vanderham’s Blanche alone makes it a must-see, and with striking design elements supporting the storytelling, it delivers a powerful interpretation of Williams’ masterpiece.
A Streetcar Named Desire runs at Sheffield Crucible until 22nd March.
★★★★☆ (4*)
Gifted tickets in return for an honest review | Photography by Marc Brenner
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