Under Mann’s direction, noisy offstage trolleys clang and rumble by on an erratic schedule (Mark Bennett’s sound), the air seems always very still, and the temperature duly enflames raw nerves. But life also goes on apace. Forget the dreary stagings of “Streetcar,” with intense interpretations at every turn. This one has both life and heart, not just mind; it’s as funny as it is violent and loud...Emily Mann knew Tennessee Williams, and at the end of his life the playwright and director had a real bond. She was not depending on the company of strangers when she took on “Streetcar,” and her insights in this version make that clear.