San Francisco theatergoers are being challenged to reconsider what’s essential in storytelling, as The Streetcar Project’s starkly minimalist production of Tennessee Williams’ 1948 Pulitzer Prize-winning drama, “A Streetcar Named Desire,” unfolds on the American Conservatory Theater’s expansive mainstage.
A Radical Stripping Down of a Classic
The production, featuring only four actors, forgoes sets and props, forcing audiences to rely on performance and sound to evoke the play’s haunting atmosphere.
- Williams’ script calls for a dreamlike quality, and this production leans into that through sound design and actor placement.
- The absence of traditional staging elements demands a heightened focus on the actors’ portrayals.
- Heather Lind, Brad Koed, and James Russell deliver compelling performances alongside Lucy Owen’s captivating Blanche DuBois.
- The production runs through February 1 at the Toni Rembe Theater in San Francisco.
Williams, known for his poetic and emotionally resonant writing, never aimed for strict realism. The published script begins with a detailed description of the desired set—a “peculiarly tender blue” sky, the overlapping voices of people, and the haunting cry of a flower seller: “Flores para los muertos.” The question becomes: can a stripped-down production, with just four actors where Williams wrote for twelve, still conjure those ethereal moments and illuminate the tragedy of Blanche DuBois, a character with whom Williams deeply identified?
This production answers with a resounding yes. The Streetcar Project’s interpretation largely abandons visual spectacle. Blanche’s wardrobe isn’t shown, props are nonexistent, and the set is initially just a ghost light—a nod to the company’s touring history to site-specific spaces. Actors move freely around the stage and even into the audience, sometimes pacing like caged animals (thankfully, without relying on Southern accents).
For audience members seated onstage, as I was, the actors appear unexpectedly close, hovering behind or in the periphery. This intimacy amplifies the play’s claustrophobia and Blanche’s growing sense of desperation. Minimal sound effects—the rumble of trains, snippets of music, and the shouts of upstairs neighbors—create a soundscape that mirrors the turmoil within Blanche’s mind.
Powerful Performances Anchor the Production
The success of this minimalist approach hinges on the strength of the performances, and the cast delivers. Heather Lind embodies Stella Kowalski with a compelling mix of toughness, playfulness, and deep affection for her troubled sister. Brad Koed’s Stanley is a visceral force, capturing the character’s almost childlike need for Stella, while sidestepping the overt machismo often associated with the role.
James Russell shines as Mitch, portraying an unassuming man both dazzled and confused by Blanche’s allure. But it is Lucy Owen, who also co-created the Project with director Nick Westrate, who truly captivates as Blanche. She embodies the character’s fragility and strength, her lies and truths, with a mesmerizing intensity. Owen’s Blanche is a woman you can imagine having lived a different life, spared a different fate.
Ultimately, this “Streetcar” proves that strong acting and assured direction are the most vital ingredients for a successful play—everything else is secondary. “A Streetcar Named Desire” continues through February 1 at American Conservatory Theater’s Toni Rembe Theater, 415 Geary St., San Francisco. Tickets are $25-$130 at act-sf.org.
