Review: A Streetcar Named Desire, ADC Theatre.

4 and a half stars.

My previous knowledge of A Streetcar Named Desire was admittedly very limited. Unlike many of my esteemed peers in the audience, it was not a text I had studied at A-Level, nor had I seen any production of the play before. I into it with ignorance and curiosity…

It is really no exaggeration to say that I was blown away. As a Streetcar first-timer, I now understand why this play receives such awe and appreciation. It is a work that delves deep into complex relationship dynamics, trauma and the human psyche. It is suspenseful, unsettling and tragically sad.  

It begins in the summer heat of New Orleans, with the arrival of Blanche Dubois to her sister’s home. She is in a somewhat desperate situation, in need of somewhere to stay after losing her family home. What she finds there is a gritty living situation which disappoints her lofty ideals, and a complicated, toxic relationship between her sister Stella and husband Stanley.

The play is brought to life at the ADC Theatre with such an energy and pace that its approximately three-hour duration seems to fly by in a flash. The story is told in a beautifully engaging way from start to finish, with a well-designed set over two levels, intensifying audiovisual effects and transportive, stand-out performances.  

One such performance comes from Jules Coyle, whose powerful portrayal of Blanche is quite remarkable. Coyle’s presence on stage is captivating and sets her apart as a character who is markedly out of place in this setting and a focal point for the audience’s attention. Her use of voice is enchanting as she swings up and down in a loud and elongated Southern drawl. Her body language, from the very start, is intriguing too as she often has her eyes fixed to the floor and we ask ourselves: why does she seem to be hiding? She is a layered character, ostensibly flirtatious and charismatic but dealing with deep trauma and insecurity that is later revealed in the play. Coyle captures these aspects compellingly.

As well as individual performances, it is the characters’ interactions and dynamics that make the show so wonderful. Stella (Lauren Akinluyi) and Blanche have deeply contrasting qualities. Blanche launches into spirited monologues, talking of fanciful stories and astrological signs. Stella, on the other hand, is much more pragmatic and can often be seen quietly carrying out household chores in the background, observing the more mundane aspects of reality. In spite of this, the sisterly bond that is portrayed by Akinluyi and Coyle is tender and convincing. One can clearly see how much affection the characters have for one another.

Abusive relationships are also captured thoughtfully in this production. In one scene, a pregnant Stella is hit by Stanley, and she falls to the ground. The coordination of this is seamless and the movements are carried out deftly by the actors. It is a moment that is both surprising, as an act of blatant violence, and predictable, given the hostility that we see bubbling up in the characterisation of Stanley – played by Jude King – since his arrival on the stage.

The threat of violence lingers throughout the play and creates a tense and troubling atmosphere. This is especially apparent in the second act, when the story’s most sinister elements emerge. The performance is highly turbulent and at points veritably scary. It is heightened by audiovisual aspects such as the background noise of radio static and projections onto the backdrop, all of which serve to evoke the mental representation of Blanche’s memory.

One final aspect I would like to comment on is the consistency of the Southern accent that we hear in the production. I personally find it distracting when actors half-commit to an accent and produce something filled with inaccuracies. The dialect coach and performers clearly worked hard at producing their accents and this aids the storytelling. Aside from a few moments of imperfection, the overall quality of accent is high.

In summary, the play is, in my opinion, a huge success. Running amidst the business of week five no less, the incredible standard is so very commendable from all the cast and production team.

Edited by Polly Bigham and Charlie Windle