I have not seen the film, but I have read a few reviews that believe, YES, Woody Allen is continiously obsessed with A Street Car Named Desire...
Here are three reviews that observe Tennesee Williams influences:
Woody Allen seems increasingly haunted by the Tennessee Williams play
“A Streetcar Named Desire.” The basic situation of that Williams
classic was reused for Allen’s “Blue Jasmine,” which won Cate
Blanchett an Oscar, and it is repurposed again (but somewhat
transposed) for “Wonder Wheel,” a film about a frustrated woman in
1950s Coney Island named Ginny (Kate Winslet)...
Blanchett got her Oscar for “Blue Jasmine” because Allen gave her the
opportunity to break down and mentally unravel in a colorfully
histrionic fashion in practically every scene. He has given Winslet a
similar assignment and opportunity here, and she enters
whole-heartedly into many demanding long takes where Ginny reveals her
dashed hopes and her strident needs. This is a weak, sometimes deluded
woman at the end of her tether who nearly always has a headache, and
her desperation when it comes to holding on to Mickey’s affections
starts to become very overbearing as the film goes on...
If you watch a Woody Allen movie one of the first things that you can
catch early on is how much the man LOOOOOOVES Tennessee Williams for a
lot of his films have the narrative elements of a Williams play. This
man is trying so hard to be Tennessee Williams for every single movie
that has to deal with an affair; this ultimately becomes ‘A Streetcar
Named Desire’ like every single film Allen made the last ten years.
What makes this film egregious on top of the familiar narrative that
we've seen a million times is the additional nonessential layers added
so that it won’t be viewed as a ‘Streetcar’ knockoff.
Woody Allen's last feature, Café Society, was an amiably forgettable
assembly of recycled nostalgia, redeemed by a luminous performance
from Kristen Stewart. His new film, Wonder Wheel, rummages in the more
recent archives, repackaging elements of one of the prolific
writer-director's most acclaimed late-period works, Blue Jasmine.
While theatrical references are batted about to Chekhov, Shakespeare,
O'Neill and the Greeks, this visually luscious, 1950s-set melodrama is
mostly ersatz Tennessee Williams, this time around with Kate Winslet
as the tragic Blanche DuBois stand-in. Her boldly unfettered
performance keeps you watching, even if underlying sourness, tonal
uncertainty and a key casting misstep diminish the effectiveness of
this Amazon Studios release, likely cramping its box office. https://www.hollywoodreporter.com/review/wonder-wheel-review-nyff-2017-1047865