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[devised by Jef Hall-Flavin with Hunter Styles]

Provincetown, MA 


Featuring Ruby Wolf as Blanche DuBois, Cut Blanche was an illuminating performance-lecture using A Streetcar Named Desire to explore the topic of censorship. I hosted an interactive presentation that compared rare footage of cuts from the original 1951 release of the film with live performances from the 1948 stage play. 

The film touches on suicide, gun violence, spousal abuse, racism, alcohol abuse, and mental illness, but yet homosexuality, underage sex, and female sexual desire never made it from the stage to the screen. How should homophobia be handled for a worldwide audience? Is underage sexual contact appropriate on screen? Why is female desire so dangerous?


The event focused on three key scenes from the play, one of which was filmed live, then censored during the presentation by Hunter Styles using data from surveying the live audience about what they thought was appropriate.


The event provided a forum to ask questions about "decency" that still resonate today. Can an author’s original intention survive the demands of the marketplace and its competing moralities? How do content warnings intersect with authorship? In a hyperconnected world, where is the line between editing and censorship, and when – if ever – is censorship acceptable or necessary?


Cinematography & Live Editing | Hunter Styles

Venue Management | Liam Corley

Original Concept | David Kaplan

Script Development & Direction | Jef Hall-Flavin


Blanche DuBois | Ruby Wolf

Harold "Mitch" Mitchell | Shamus

A Young Collector | Tommy Walsh



This presentation is available for booking


[Maria Baranova]



“Cut Blanche” [is an] interactive censoring display of the 1951 film of “A Streetcar Named Desire,” led by the former festival executive director Jef Hall-Flavin.

Kathi Scrizzi Driscoll


Hall-Flavin led the audience through a fascinating tale about what parts of the story had to be censored for the Catholic Legion of Decency to approve the film’s release...

This practical look at how censorship looks and feels was an excellent addition to the programming...

Bess Rowen

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