All that exceptional theatre should be. An A-Z of how it should be done!
Tennesse Williams’ Pulitzer Prize winning classic tale of emotional issues is given a splendidly simmering but still honest revival at the Crucible Theatre in Sheffield this month. We are instantly transported to the heady, sultry streets of New Orleans in the 1940’s where a jadedly delicate and neurotic southern belle, Blanche Dubois seeks solace with her sister Stella and her brutish husband Stanley. As a battle for Stella’s heart is warred between Blanche and Stanley and the southern stifling heat is only matched by the intense heat of the futile feud. Blanche’s southern belle charm and airs and graces are transparent to Stanley and secrets of the past are unearthed, thus both sisters must choose between reality and fantasy. With ignited passions illusions are shattered.
This production is right in so many ways from its casting by Christopher Worall CDG to its wonderfully evocative set in the challenging Crucible – theatre in the round. Sheffield maintains its lofty status as one of the leading producing theatres in the country and A Streetcar named Desire is a beautifully executed example.
Exceptionally detailed and microscopically powerful direction by Josh Seymour, assisted by Natalie Simone and enlightened design by Frankie Bradshaw assisted by Ceci Calf, then added with Howard Harrison’s atmospheric Lighting design and Alexandra Faye Braithwaite’s haunting sound design and music arrangement result in a total immersive experience. The audience are drawn and held firmly in the productions grasp with this creation – both visually and aurally.
The set on a revolving stage gives the audience the perfect insight into the cramped conditions of Stella and Stanley’s two room abode. With minimal furniture to suggest the interior and a centre stage door frame with a translucent curtain all that separates the living and sleeping areas. The important bath is placed on an outer revolve and as its importance heightens then the bath is rotated forwards.
Joanna Vanderham’s Blanche Dubois is a dynamic portrayal that never loses its intensity, her southern drawl stays solid to the end and credit must go to Aundrea Fudge the Dialect Coach for some of this. Vanderham’s performance is as different as is her character to her on stage sister Stella (Amara Okereke). Okereke really impresses me with her classy performance, and she is the glue of the production, the scenes with her sister Stella and her brutish husband Stanley are handled with a wonderful understanding of calm and genuineness. Jake Dunn has a difficult task in the role of Stanley, with scenes that are shocking and morally challenging, but he handles these with the perfect amount of attack. Tayla Kovacevic- Ebong plays the less effective role of Mitch and with less dialogue to explore he creates a solid and likeable character, with some lovely moments with Vanderham. Eunice (Bridgette Amofah), Pablo (Nuhazet Diaz Cano) and Dominic Rye as Steve added energy to the production with Lia Barge and Jack Ofrecio as Allan completing the nine strong cast.
The final scene is heartbreakingly alarming, the build-up is intensely riveting, the claustrophobia is all encompassing, and the production is a powerhouse of theatre. At the Sheffield Crucible until Saturday 29th March 2025 all I can say is ‘Oh just go and see it!! I loved it’.
Reviewed: Tracey Bell
Reviewed: 6th March 2025
North West End UK Rating: