Paul Mescal taking his shirt off four times may be enough to justify the steep ticket prices. Though his abs alone are enticing, the show also takes the audience through a series of shocking and disturbing moments that leave viewers on the edge of their seats. Drawing in the audience with a well-known cast, Rebecca Frecknall’s reimagined staging of Tennessee Williams’ play “A Streetcar Named Desire” reminds audiences why classic works are considered timeless. 

This off-Broadway revival is a multi-Olivier Award-winning transfer from London’s West End. Similar to the Tonys, the Olivier Awards honors the greatest professional theater in London. While the show made its Broadway debut in 1947, it has since taken on many other variations, including three Broadway revivals, a film adaptation, an opera and a ballet, and it now takes on a new life at the Brooklyn Academy of Music.

The play follows Southern belle Blanche DuBois as she takes a trip to New Orleans to visit her sister Stella and brother-in-law Stanley Kowalski after tragedy strikes in her hometown of Laurel, Mississippi. Blanche is traumatized but cannot process her trauma because she is viewed with intense suspicion. 

The all-star cast includes Patsy Ferran as Blanche, Anjana Vasan as Stella and Mescal as Stanley, who all contribute to the dramatic and intense setting through their feverish performances — all living up to their renowned reputations.

The show starts with a frantic drum solo and a series of lines spoken over each other. From the very beginning, the audience is thrown into the chaos that whirls around Blanche. In these first moments on stage, it is evident that she is anxious and has a drinking problem. While her character is unstable, Ferran’s performance is the crux of the show. 

As she stands on stage, Ferran captivates the viewer with her character’s broken disposition. The down-on-her-luck diva is just barely keeping her head above water but sees a sliver of hope in her visit to Stella. Throughout the show, Blanche builds up her character’s walls just to have them destroyed scene after scene. At the very end of the first act, Blanche reaches a pivotal moment of hope where she and Harold “Mitch” Mitchell, a friend of Stanley, conclude that they need each other after moments of romantic interaction. After letting down her guard for this romantic prospect, she is ultimately destroyed after Mitch finds out her past as a prostitute. Though her character is not the most likeable, Ferran forces viewers to empathize with her character. 

Vasan delivers a stunning performance as Stella, presenting her headstrong and stubborn, yet vulnerable, character. She captures the put-together nature of her character, but she is not afraid to be unguarded. Stella is sensual as she perfectly flirts and engages with her husband. During the first few scenes, Vasan’s character is madly in love and lustful towards Stanley as she kicks her feet and squeals with excitement. This intoxicating energy implodes when Stanley strikes Stella, leading to an intense eruption in the Kowalski home. 

Mescal’s performance is equally as impressive. Stanley is suspicious of Blanche from the very beginning and maintains this suspicion throughout the show, which creates unimaginable tension between the pair. This is contrasted by his warm, but rather aggressive, affection towards Stella. 

The captivating performances are elevated even further by Frecknall’s staging and direction. While scenes play out in front of the audience, many of the actors stand on the sidelines and are forced to watch helplessly as violence unfolds in front of them. Frecknall’s direction is eerie, allowing the viewer to suspect the approaching cruelty and leaving everyone involved unable to do anything. 

The exciting tech and scenic elements further the performance, as well. At dramatic moments of the show, rain pours down from the ceiling, perfectly adding to the high-stakes moments. Additionally, the lighting and sound design build tension from scene to scene. All of the pieces come together stunningly and ultimately work to bring the audience into the Kowalski’s small, two-room apartment.

The show is playing for a limited, five-week run and will close on April 6. Dealing with incredibly intense topics — sexual assault, substance abuse, domestic violence and death — this reimagining perfectly fits a contemporary audience and envisions the original show in a way that can only be considered timeless. 

Contact Dylan Henschen at [email protected].