On Wednesday 19th March, our A Level English students attended the Sheffield Theatres production of Tennessee Williams’ southern gothic tragedy ‘A Streetcar Named Desire’. This gave students the chance to see one of their set texts performed live, bringing to life the characters and scenes studied in class.
The following review was written by two of our final year A Level Literature students, Dina Noei and Husna Khan.
A Streetcar Named Desire is Tennessee Williams’ poignant exploration of a vulnerable woman caught up in the brutalist society of New America. This rendition of the play depicts the perfect conceptualisation of what happens when a woman with too little from too much, meets a collection of people with too much from too little. Josh Seymour’s interpretation of the play is profoundly in sync with the emotions evoked in a tragic play, invoking pathos and tension intermittently.
Seymour’s utilisation of the stage consisted of the use of moody lighting and the actual stage itself, moving in line with the characters to convey a shift to the other scenes. We thought this was a staggering use of the stage as it was unexpected to us. As students, it offered a new perspective on how the physical stage could be used to contribute to the dramatic effect.
Joanna Vanderham’s depiction of Blanche was captivating, as she completely embodied the tragic hero, highlighting not only her flaws, but also the typical demeanour of the Southern Belle. Joanna dominated the stage, making her presence known and thus seizing the attention of her audience. We found ourselves consumed, desperately seeking to unravel Blanche’s intricacies whilst admiring her haunting impression on the other characters. As A-Level students, we saw a beautiful real-world depiction that completely widened the scope of our imagination and offered us an insight into the tragically imperfect character of Blanche – one that goes beyond the fictional rendition.
What tied together the play was the physical appearance of Alan, a figure of Blanche’s burdened past. Jack Ofrecio was silent yet known, which perfectly executed the progression of Blanche’s fragility and torment, as she blurs the lines between past and present. In watching Joanna’s struggle to cling to reality, we were completely enthralled by the dynamic of these characters on stage.
Jake Dunn perfectly encapsulated what we thought represented Stanley: the embodiment of masculinity. His movements were sharp and proud, prowling the stage with influence. You could really feel the tension between having Blanche and Stanley both on the stage, engaging in their classic witticism. In moments of apprehension, Dunn corrected his voice to almost a low growl which we thought suited Stanley: predatorial, territorial and animalistic itself.
Seymour’s execution of A Streetcar Named Desire was overall an enchanting experience that brought the characters we knew on paper to life. It helped visualise who these characters were, and we now feel more confident in developing a critical analysis on them. We would recommend seeing the play itself to bring a new perspective on Williams’ tragic tale.
