Tennessee Williams’ A Streetcar Named Desire has arrived at the Crucible for a month-long run, bringing with it all the tension, passion, and raw emotion of this iconic play. Under the direction of Joshua Seymour, this production remains largely faithful to the Pulitzer Prize-winning original, allowing Williams’ storytelling to shine without unnecessary embellishments.
Speaking to Exposed before opening night, lead actor Jake Dunn recalled how Seymour set the tone for rehearsals: “No one in the room has to try and be a genius when we start. Williams is the genius. We’ve got the genius already. Let’s just play.” This philosophy is clear to see in the production, which places its trust in the strength of the performances rather than elaborate staging.
The set is deliberately sparse, reflecting not only the stark difference between Blanche’s romanticised illusions and the reality of Stanley and Stella’s existence but also intensifying the emotional weight of the drama unfolding. Blanche arrives with a trunk filled with trinkets and furs, yet finds herself surrounded by the bleakness of the Kowalski’s world, a contrast that is underscored by a minimalistic and cramped set.
Jake Dunn delivers a compelling performance as Stanley Kowalski, often exuding a crude, animalistic presence on stage. He prowls with an air of aggression, displaying a particularly large chip on the shoulder when it comes to the DuBois sisters’ background, and his working-class sensibilities clash violently with Blanche’s refined, aristocratic pretensions. His hostility towards her is instantly palpable, though at times, their conflict feels so heightened from the outset that a more gradual build-up of tension may have been a better route to take. Joanne Vanderham is on superb form throughout, presenting Blanche as a whirlwind of vanity, anxiety and myriad neuroses that quickly takes up a lot of room in the small apartment. Her frequent interactions with a ghostly presence from her past add an eerie dimension, though I’m yet to decide whether it is an effective technique or needlessly on the nose.
Amara Okereke’s Stella is warm and patient, caught between the clashing forces of her sister and husband. She appears to be a genuinely caring soul, with a patience that is often stretched to breaking point and, occasionally, snaps – though sometimes the impact of her fury is lost amidst a more general sense of meekness. Some welcome reprieve from the triangle of sadness on display comes through Tayla Kovacevic-Ebong’s mostly affable portrayal of Mitch and his unlikely, developing courtship with Blanche.
Visually, the production makes excellent use of the Crucible’s rotating stage to heighten the sense of chaos and Blanche’s spiralling descent. The movement of the set mirrors the psychological disarray of the characters, reinforcing the claustrophobic feel of the household.
It is far from an easy watch, and nor should it be. A Streetcar Named Desire is a play about class, gender roles, power and, of course, desire. Ultimately, much of the story revolves around contentment: what it means to different people and the lies we tell ourselves to protect it. Such heavy themes are explored and laid bare by a cast well on top of their game.
4/5
A Streetcar Named Desire runs until 29 March at the Crucible. Tickets and more info available here.
