Tennessee Williams' classic "A Streetcar Named Desire" has returned to the New York theater scene at BAM starring Academy Award winning actress Cate Blanchett. NY1's Roma Torre filed the following review.

Blanchett takes on Blanche, the iconic faded southern belle at the center of Tennessee Williams' "A Streetcar Named Desire." And while this is a production courtesy Cate Blanchett and husband Andrew Upton's Sydney Theatre Company, there's not a hint of Aussie in it. In fact, under Scandinavian star Liv Ullman's illuminating direction, they've impressively captured all the tragic dimensions of this fabled American classic.

The story of Blanche DuBois who arrives at her sister's squalid New Orleans apartment with a bag full of fancy clothes and unhappy memories is delivered in a straightforward, naturalistic manner. Ullman is an intuitive director who makes great use of her space and skilled ensemble, contributing some nice flourishes that mostly work. Though a few, such as Blanche’s starry final exit prove theatrically bizarre. But these are minor quibbles with a show that chillingly hits home for the most part.

Melodramatic in stylet, the 62-year-old play still packs quite a punch. Blanche, rattled by raw nerves after losing her family estate and a tragically failed marriage comes to New Orleans in quite a state. Her sister Stella is married to the boorish Stanley Kowalski who strikes Blanche as more animal than human. Her sensitivity is no match for his brutality and their second act confrontation is shattering.

Blanchett at first seems a little too put together, too much the movie star to do justice to the role but this approach enables her to unravel in spectacular fashion. And she presents a desperate soul clinging to the barest threads to keep from going under. Her gentleman caller scenes with Mitch, played movingly by Tim Richards, are truly heartbreaking.

Robin McLeavy has a fine moment-to-moment earthiness as Stella and Joel Edgerton recalls Marlon Brando's Stanley in voice and manner though he claims the role for himself ultimately with a carnality that is both repulsive and convincing.

At three hours plus, this is a streetcar that takes its time, making the journey from simple desire to delusion to abject cruelty. And hopeless as it all may seem, Ms. Ullman and company have us riveted to our seats.