A Streetcar Named Desire – The Lyceum, Edinburgh

This is a thrilling production of a great play by Tennessee Williams. It pulsates with raw energy and gripped the packed house at The Lyceum.

The Pitlochry Festival Theatre production, directed with panache by Elizabeth Newman, has a stellar cast and an innovative creative team.

When 30-something Blanche DuBois unexpectedly turns up at the small downstairs apartment rented by her younger sister, Stella, and her husband, Stanley, she thinks she’s come to the wrong address. Blanche was expecting something better than this poky apartment in a poor area of New Orleans ironically called ‘Elysian Fields’. Blanche has been used to the grandeur of Belle Reve, the family plantation in Mississippi.

But although Blanche has a trunk full of pretty clothes, she has to admit to Stella that she’s ‘lost’ Belle Reve. This does not go down well with Stanley when he finds out. He claims that Louisiana has the Napoleonic code which states that anything which belongs to the wife also belongs to the husband (and vice versa).

Blanche has to sleep on a folding bed in the kitchen. There’s no door, just a curtain leading to the adjoining bedroom, so not much privacy especially as Stanley wanders around the whole apartment in his underwear at night time. Blanche even has to ask him to close the bathroom door.

Kirsty Stuart is simply wonderful as Blanche, conveying the complexities of a charismatic and multi-faceted woman who does her best to keep up appearances despite the fact she’s lost everything. She indulges in fantasies, drinks too much and teeters on the edge of a nervous breakdown. Blanche cares deeply about Stella, and wants her to leave the ‘animal’, Stanley. She even dreams up a plan to ask an oil tycoon she knows for money to set the two of them up with a shop. But Stella knows it’s just another of Blanche’s fantasies. There are so many moving moments in this searingly truthful performance – none more so than when she tells Mitch about her first love when she was 16. She caught him in bed with another boy, and later told him “You disgust me”. Shortly afterwards he committed suicide. An unforgettable performance by Stuart.

Matthew Trevannion as Stanley is mesmerising as the strutting peacock who abuses women. He’s wonderfully unpredictable, liable to explode without warning. Trevannion is adept in the humorous exchanges which provide some light relief. But overall, he is terrifying. A high-quality performance. 

Nalini Chetty gives a captivating performance as Stella. She admits that even on their wedding night, Stanley frightened her by snatching off her slipper and using it to smash the light bulbs in the room. Now even though she’s pregnant, he’s violent to her. But she loves him deeply and, it seems, won’t leave him, no matter how abusive he is. Powerful acting.

Keith Macpherson plays Mitch, Stanley’s poker playing friend, who falls for Blanche. He gives a superb performance as someone who appears at first to be what Blanche regards as a ‘natural gentleman’. However, when Stanley tells him what he’s found out about Blanche, although he drops all ideas of marriage, he makes it clear he still wants her physically, and Blanche has to shout ‘fire, fire’ to stop him from raping her.

In smaller roles Deirdre Davis and Oliver Cookson convincingly play Eunice and Steve Hubbell who own the building and live in the upstairs apartment. Their relationship mirrors that of Stella and Stanley. Steve is another violent domestic abuser.

Other roles are well played by Patricia Panther, Marc Small and Jesse Fox.

Set and Costume Designer Emily James has come up with an ingenious set on a revolving stage. Skilfully lit by Lighting Designer Jeanine Byrne, the set is vibrant but also complements the claustrophobic atmosphere of the play. Particularly towards the end, the revolving stage helps convey Blanche’s turmoil. As does a harsh light at the back of the stage. James’ costume design – including colourful robes for Blanche and Stella – is excellent.

Pippa Murphy composes some superb blues music evocative of New Orleans, and also designs the outstanding sound effects. And Robin Hellier is the Fight Director responsible for some effective depiction of violence.

‘Streetcar’ is a brilliantly written tragedy. Not a word is wasted. There are no dull moments. When it was first performed in 1947, it shocked some by the very fact it dealt with ‘sordid’ issues. Today, 77 years later, it’s still a difficult watch because of the abusive behaviour of the men, particularly Stanley.

This is a stunning production of one of the best American plays of the twentieth century. Thoroughly recommended.

A Streetcar Named Desire runs until 9th November at the Lyceum. Tickets from https://lyceum.org.uk/  

Reviewer: Tom Scott

Reviewed: 26th October 2024

North West End UK Rating: