Review of A Streetcar Named Desire: A Classic Tale of Broken Dreams

A simple circular podium and a meager handful of accessories replace the aromatically seedy neighborhoods of New Orleans.

The inclusion of a drummer to underscore dramatic moments is irritating and intrusive. So is the impromptu appearance of Blanche’s dead husband in a twisted dance to emphasize Blanche’s messed up state of mind. These and other interventions are too literal representations of Williams’s words. However, there is real power in performances.

Mescal (Normal People/Aftersun) tempers Neanderthal Stanley with instinctive intelligence; sex and violence hang in the air like sulfurous smoke from an active volcano.

While Ferran is far from the traditional Blanche, her rapid fire throwing and hyperactive agitation suggest a mind that is crumbling faster than alcohol can prevent.

Vasan is utterly convincing as a woman who understands that she has sacrificed polite and ‘safe’ society for wild and unbridled passion. Beneath Blanche’s flirtation with Stanley’s amiable friend Mitch (Dwane Walcott), there is an undercurrent of mutual despair that provides for one of the most poignant scenes in the story. night.

Yet by stripping him down to his underwear and embellishing him with directorial flourishes, Frecknall’s production seems, ironically, overdressed.

And God save us from more rain on stage. As Blanche says: “I don’t want realism, I want magic”.

Almeida Theater until February 4 Tickets: 020 7359 4404

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