Rebecca Frecknall Directs a Bold, Modern Take on ‘A Streetcar Named Desire’

Brooklyn, New York – In a fresh rendition of Tennessee Williams‘ classic play “A Streetcar Named Desire,” director Rebecca Frecknall brings her unique vision to the stage, now showing at BAM following its success in London’s West End. The production offers a stark, physical interpretation that contrasts sharply with the lush southern setting of the original.

The play focuses on the fragile character of Blanche DuBois, portrayed by Patsy Ferran, who moves in with her sister Stella, played by Anjana Vasan, and her brutish brother-in-law, Stanley, portrayed by Paul Mescal. This performance is noted for its intense emotional landscape, with a live drummer on stage, Tom Penn, providing a jarring score by Angus MacRae that keeps audiences on edge.

“This is a raw, powerful take on Williams’ work that reflects both the fragility and strength of the characters involved,” said Frecknall, who previously received accolades for her direction of “Cabaret at the Kit Kat Club.” Her approach in “Streetcar” emphasizes the psychological tension between characters, primarily through a dramatically minimalistic, elevated set designed by Madeleine Girling, shaped like a boxing ring.

Mescal’s performance as Stanley has drawn attention for its youthful vigor and beauty, encapsulated in his tomato-red muscle shirt and casual attire. While his portrayal has moments of intensity, critics noted that his accent appeared inconsistent, eliciting comparisons to the legendary Marlon Brando‘s portrayal. Mescal is described as embodying a mix of flawed charm and brute strength, essential for the role.

Contrastingly, Ferran’s Blanche delivers a striking, haunting performance, capturing the character’s layered complexity and tragic descent. Her interpretation melds vulnerability with a sharp intelligence, though some critiques suggest that the production relies too heavily on choreographed conflict rather than allowing her character’s pathos to resonate organically.

Critics have noted that Frecknall’s tendency to externalize emotional states through expressive dance can overshadow Williams’s deep character work. “It feels at times like we’re intruding on Blanche’s mental unraveling in a way that detracts from the sorrow inherent in her story,” writes one reviewer.

As the play spirals through themes of illusion and reality, the tension culminates in moments that push against the boundaries of emotional expression, emphasizing a physicality that may not resonate with all audiences. While this production strips down the narrative to its raw emotional core, the performative intensity might leave some longing for the subtler nuances of Williams’s original intention.

In a separate production, Ibsen’s “Ghosts” is making waves at Lincoln Center under the direction of Jack O’Brien. Featuring actors like Lily Rabe and Levon Hawke, the play explores themes of familial despair and moral hypocrisy. Critics have remarked on Rabe’s chilling portrayal of Mrs. Alving, though opinions on the younger cast members have varied, reflecting the challenges faced in ensuring depth in their roles amidst an ambitious set design and narrative retelling.

As explorations of classic literature continue to evolve in modern theatre, the contrasts between Frecknall’s and O’Brien’s interpretations provide much to ponder about the original intents of these playwrights and how they resonate today, ultimately questioning the balance between fidelity to the text and creative reimagining.