Edward Hall's production of the brilliantly titled A Streetcar Named Desire begins by ignoring a theater truth: Entrances are crucial. Hall, who has recently begun to make a sterling reputation for himself locally with A Midsummer Night's Dream and Rose Rage, attempts to create the atmosphere of Tennessee Williams' Latin Quarter by dispatching a crowd of actors across Robert Brill's sprawling set with its expanses of filigreed iron railings. Some of this crew roam the aisles of the theater, a convention that's had a hefty workout recently. (The idea is to make the auditorium part of the play's world, but it almost has a negative effect on the theatrical experience.)

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