Disappointed that you missed Paul Mescal in the recent West End run of A Streetcar Named Desire? Never fear because Tennessee Williams’ iconic play, has opened at the Crucible and is here to stay until Saturday 29 March. Set in 1940s New Orleans, this is a story of complex relationships, the human condition and the desire for love and acceptance.
Joanna Vanderham takes on the esteemed role of former Southern belle Blanche DuBois, who is forced to leave the life she is used to and move in with her sister, Stella (Amara Okereke) and Stella’s erratic husband, Stanley (Jake Dunn). Aundrea Fudge and Tess Dignan (dialect and vocal coaches, respectively) have done a superb job directing the accents in this show and Vanderham’s is notably flawless. She shines in this iconic role – floating about the stage with grace and poise but her eyes tell a different story. From the smallest facial expression to a minute change in her body language, Vanderham’s portrayal of the gradual deterioration of Blanche’s mental stability is astonishing.
Okereke’s performance as Stella is raw and heartbreaking, reacting authentically to her sister’s actions. Stella is flawed but Okereke makes her likeable and we as the audience empathise with her and yearn for her to leave her aggressive husband. Dunn brings depth to the character of Stanley; he is not a one-dimensional “baddie”, rather a complex and troubled human. While not likeable, we can understand his frustrations.
The supporting cast are fantastic, too. Mitch is played by Tayla Kovacevic-Ebong, appearing sweet and gentle in comparison with the other male characters. Kovacevic-Ebong has great chemistry with Vanderham, making their relationship’s demise feel much more tragic. Jack Ofrecio plays the ghost of Allan, Blanche’s former husband. He appears more frequently as the play goes on, additionally appearing as a young man collecting donations and the Doctor at the end, indicating the continous decline in Blanche’s grip on reality. Ofrecio delivers hauntingly beautiful vocals and plays his roles with a quiet charm.
Bridgette Amofah gives a particularly strong performance as Eunice. While she does not have as much stage time as some of her other cast mates, she is just as memorable, bringing to life a funny and headstrong character representing the ups and downs of life. Eunice’s partner, Steve is portrayed by Dominic Rye, who sits up on his porch playing beautiful pieces on piano which adds to the intimate and haunting atmosphere of the play.
The set design and thrust stage work perfectly for this story, providing an intimate setting for the family’s compact living situation. The stage’s turntable is transformed into the small apartment belonging to Stella and Stanley, raised slightly to separate it from its adjoining street. A set of stairs at the back of the stage lead to Steve and Eunice’s apartment, which we never see except for its exterior porch: bare aside from Steve’s piano. The turntable spins to draw attention to the room in which the scene’s main conversation is taking place in. The bathroom of Stella and Stanley’s place connects to the exterior portion of the turntable, meaning it spins with the street rather than the apartment. Because of this, it doesn’t always lead into the same room, creating a surreal air which I feel helps indicate the deterioration of Blanche’s mental health.
Symbolism is used a lot throughout the show. A scene later on depicts Stanley abusing Blanche. In what could have been a very graphic display, Stanley calculatedly rips up a delicate white piece of material, while Blanche stands in the centre of the stage wearing only her undergarments. Throughout the play, we are reminded of how much Blanche cares about her looks and clothes, so seeing her in this state is a heartbreaking and powerful representation. In contrast, Stanley’s abuse of Stella is performed without symbolism. The clear depictions are poignant as the audience witnesses them, meaning these are real events and we are not left wondering if they’re part of Blanche’s breakdown.
Bethan Clark directs the physical scenes superbly, leaving the audience shocked and unsettled. The play closes with Stella’s gut-wrenching cries for her sister with Eunice comforting her, while the men go back to playing poker as if nothing had ever happened.
Cold, heartbreaking and tragic in all the best ways and I couldn’t help but stand to applaud this stellar cast (no pun intended). Sheffield Theatres’ production of A Streetcar Named Desire is one you do not want to miss. Tickets are selling fast so book yours here!