When director Pearl Benjamin honoured me with a ticket to her see her production of A Streetcar Named Desire, I didn’t know what to expect. I’ll shamelessly admit, I’m not well-versed in Tennessee Williams or the world of theatre. However, walking into that dimly lit performance space, I was immediately transported, and by the end, completely blown away.
Stage & Lighting
Before the play even began, the actors were already performing: smoking cigarettes, talking to one another, existing in the world of the play as the audience filed up the seats. It entirely shatters the boundary between stage and spectator, making us instantly immersed in the story.
The space itself was used brilliantly and the actors moved fluidly between the stage and the audience. The male actors entering through the crowd and a balcony used on the right side of the audience, extending the setting beyond the usual proscenium. The entire room became New Orleans. It felt less like watching a play and more like being dropped into a completely different life.
Lighting and sound worked hand in hand to heighten tension and emotion. The red flashing lights during the sexual assault scene, paired with piercing screams, were especially powerful — horrifying even. The utilisation with the lighting as a tool to convey Blanche’s trauma was done in a way that words never could. Also, the music was a key storytelling device: detailed, haunting, and perfectly timed to amplify the emotional beats of the show.
The production team did a phenomenal job at coordinating the effects, sound and lighting to bring realism to the stage, encapsulating the narrative’s themes and message.
Performances
Daisy Smither’s portrayal of Blanche DuBois was extraordinary. She embodied Blanche’s fragility and delusion so much that I felt the confusion myself: unsure of what was real, what was imagined, and what was simply her desperate attempt to survive. Her southern accent was impeccable, and her comedic timing (“Yes, I was flirting with your husband!”) provided perfect moments of levity amid the darkness.
Zac Lovat’s performance of Stanley Kowalski was equally magnetic. It was raw, terrifying, and physically charged, every shout sent a chill down my spine. The chemistry between him and Lydia Baggaley’s Stella was electric, encapsulating both the sensuality and toxicity of their relationship.
Lydia Baggaley, as Stella, provided the emotional bridge between the two extremes, torn between her sister’s fragility and her husband’s violence. Her chemistry with both actors was palpable, and her portrayal of Stella’s quiet denial in the aftermath of Blanche’s assault was heartbreaking.
Jacob Message brought a touching vulnerability to Mitch, making his scenes with Blanche some of the most emotionally complex of the play.
Supporting roles include Eliza Nicholson as Eunice, Sean Baker as Steve, and ensemble Lorcan Read and Poppy Harris. These characters added warmth and humour, grounding the chaos in moments of everyday realism.
Costuming
The costumes were beautifully thought-out, especially Blanche’s. Her extravagant outfits mirrored her fading grandeur and her refusal to accept reality, from pretty green or poke-a-dot dresses to full out ball gowns. With other characters, wearing long skirts or suspenders, the outfits were consistent with 1940s style.
Themes and Impact
Benjamin’s direction captured the sharp realities of post-war America — the lingering trauma, the patriarchal institutions and the restrictions on women’s lives. The production did not shy away from the play’s horror, it instead embraces it to make the audience embody Blanche’s fear and disorientation.
At its core, A Streetcar Named Desire is a battle between illusion and reality, between fragility and brutality. This production understood that perfectly. It was tense, uncomfortable, and heartbreakingly human. A vivid reminder of how easily a person’s mind can unravel when pushed too far.
By the final scene, as Blanche whispered that she had “always depended on the kindness of strangers,” I found myself genuinely moved. It’s rare for a student production to achieve such emotional precision and thematic depth, but Benjamin’s Streetcar did. It did it with style, sensitivity, and fearless performances across the board.
Conclusion
This Streetcar Named Desire was everything theatre should be: immersive, unsettling, and deeply emotional. It was a testament to what student theatre can achieve when vision and talent collide. Benjamin’s direction was sharp, the performances fearless, and the design elements perfectly cohesive. It wasn’t just a play, but an immersive experience.
Editor: Tamima Islam