In this Behind the Curtain interview we speak to Jack Ofrecio who is currently starring in the Sheffield Theatre's production of A Streetcar Named Desire.
For anyone who doesn’t know, can you tell us what “A Streetcar Named Desire” is about? And what made you say yes to doing this show?
Very loosely, A Streetcar Named Desire tells the story of living with mental illness, class struggle, and the clash between illusion and reality. It’s such an iconic piece by an iconic writer and really not done that often. So when these opportunities arise—especially when helmed by a great director like Josh—it’s very hard to say no.
Without giving too much how would you describe the Sheffield Theatres production of ‘A Streetcar Named Desire”?
I would say this is a fresh retelling of the story, and it really leans into Blanche’s past relationship with her late husband. We made the choice to personify him and have him present throughout the play. Tennessee Williams never personified this character, and exploring the complexities that arise from doing so is really exciting. It creates an unwritten, but undeniable through-line in the play that adds depth to Blanche’s character and showcases the impact this figure has on her.
What role are you playing? And what would you say is the one thing you enjoy about playing this role?
I’m playing three characters in this production, but I’ll most prominently feature as Allen, Blanche’s husband before his death. He represents not only her grief but also a memory of the happiest time in her life. It’s really interesting to play both the safe haven and the memory of trauma and loss.
The show is written by Tennessee Williams. How would you describe the script and what would you say is the one thing that stood out to you when you were reading it for the first time?
The script is beautiful. I think the reason it’s stood the test of time and was such a success when it came out is the stunning language Tennessee uses. Every word is so particular. We discovered in rehearsal that when we paraphrased, it didn’t feel right because he’s so specific with his words. It makes our jobs a little easier, though, because we can use the text to guide us through the performance. It’s nice to trust the text to do the work, allowing us to explore the depth of human psychology.
How does it feel to make your Sheffield Theatres production debut?
This is another reason why I said yes to doing Streetcar. I’ve had immense respect for the Sheffield Theatres production team, and I believe Standing at the Sky’s Edge is the best British musical to come out, certainly in my lifetime. I was so moved watching it at the Gillian Lynne Theatre, and to be even a small part of a team that created something so extraordinary was inspiring. When we were rehearsing at the Lyceum rehearsal rooms, you could see the Park Hill estate. I think that’s really powerful. The team has an amazing understanding of what makes great theatre, and it’s always exciting to see what they create.
Tell us your first experience of theatre? How did that make you feel? And what was it about that particular experience that made you want to perform?
My first experience with theatre was watching my Nan in a panto, and I loved it. I remember seeing how happy the actors looked on stage and how happy the audience was. I loved—and still love—the event of going to the theatre, and I knew from that moment that I wanted to be a performer.
A Streetcar Named Desire has a cast of nine, in your opinion is it more challenging or does it allow you and the other cast members to add more to the show?
I’ve been very fortunate to have only worked in smaller casts so far. I think there will come a time in my career when I do a larger show, but for now, it’s always been with less than 15 people. The beauty of theatre—especially regional theatre—is that it brings together actors from all over the country, and you truly become a family. Being away from our loved ones is hard, but to explore a new city and make new friends and memories together is a wonderful experience, and I’m really grateful for it.
What is your favourite part of the show and why?
I feel like my favourite part of the show changes each time I do it. But I can’t help but love Act 2, as I’m on stage from the very start of the act and can really immerse myself in the world of the play. I get to watch the amazing acting from arguably the best seat in the house.
How did rehearsals go? And what has been the one thing you have learnt from this show so far that you will take on to other projects?
Rehearsals are great. It’s always intense when you’re rehearsing a show in a short amount of time. It’s exciting and fun, and I understand the language of having to work quickly and be detailed right away, going into things with ideas and intentions so that it’s not all about discovery on Day 1. But the beauty of theatre rehearsals for me is hearing everyone else’s opinions on the story and characters. Everyone offers something, bringing a light to a scene you might never have thought of before. That’s the beauty of working with exceptional actors—you get to learn so much from them and how they work. We’re truly gifted with the cast that Josh and Chris, the casting director, have assembled.
A Streetcar Named Desire plays at the Sheffield Crucible until the 29th of March.
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