Reviewed at: Crucible, Sheffield by Michelle Rawlins
A complex and nuanced story of contradictions and struggles, this brand-new performance of A Streetcar Named Desire is a blistering adaptation of Tennessee Williams’ 1947 Pulitzer Prize winning drama.
Depicting a woman in crisis, battling against her own delusions as mental illness consumes her, Blanche DuBois’s disintegration is simultaneously indicative of the power playing society she has found herself trapped in.
Following the downfall of her family’s plantation, Blanche seeks sanctuary at her sister Stella’s New Orleans cramped apartment. But instead of being wrapped in the love she desperately needs, the self-proclaimed dainty Southern belle is emotionally and physically tortured by her abusive, misogynistic, brother-in-law, Stanley Kowalski.
Under Josh Seymour’s direction for Sheffield Theatres, a haunting intensity is created which gradually builds throughout. What initially feels comical and whimsical develops into darkness in a place enveloped in secrets and a complicated web of internal battles.
Joanna Vanderham’s performance as Blanche is breathtaking. Her stage presence is nothing short of phenomenal. As she circles the stage, often in a rapidly revolving and steaming bath, her monologues seamlessly transition from fantastical to harrowing, leaving the audience in an awe-like silence.
Her battles started after her former, younger, husband took his own life after he reveals he is gay. In a state of grief, loneliness, and guilt, Blanche moves from one seedy sexual encounter to another, before losing everything, including her reputation, and taking shelter in the tiny two-bedroom slum like dwelling of her sister. The lack of privacy only adds to her deeply traumatic angst and simple desire to be loved.
Amara Okereke’s powerful performance as Stella is hard to watch at times due to the nature of her loyal character. She can’t even contemplate leaving her poker-drinking, and frequently violent, husband Stanley. He, meanwhile, is hell bent on revealing Blanche’s sordid secrets, furious that she has lost what he sees as his inheritance. This in turn exposes her long-standing battle with mental illness, probably brought on by severe psychological trauma, and accelerated by relentless cruelty.
Jake Dunn who plays the unlikable, and often vulgar, Stanley, perfectly encapsulates his brutal character, from the menacing look in his eyes, to his constant, nerve-inducing, finger shaking.
The constantly moving two-tier set, adds to the complex multi-layered story. There’s a clever juxtaposition of the soulful, deep south, piano playing from the upstairs neighbours, whose relationship also moves from harmonious to turbulent. They are frequently accompanied by the presence of Blanche’s, now peaceful, first love Allan (Jack Ofrecio).
This is a seriously impressive and striking recreation of one of the most famous post-World War Two expressionistic plays that poignantly reminds the audience of so many systemic wrongs that are still ever-present in today’s society.
Showing until March 29 2025
Tickets here
Images Marc Brenner