Blanchett's Blanche is an icon pushed to the edge of its pedestal. A perfect summation of the role for first-time Streetcar riders, to an old hand her extreme, frenetic approach—this Blanche is well on her way to breakdown from the start—explains the play's grip on pre-Stonewall gays, evoking decades of drag-queen appropriation of the role. (Cf., for instance, the "Miss Destiny" sections of John Rechy's City of Night.) Inventively (Scandinavianishly?), Ullmann has her stress Blanche's sense of shame, though unwisely letting her give in too easily, slackening the tension: You've never seen a Blanche struggle less with Stanley in the rape scene. The supporting cast is solid, as is Ullmann's production, for all its eccentricities, but this show is distinctly about the star, from her appearance in the opening moment to the omitted last line as she exits.