Glass Menagerie Review

Alright, a lurker comes out of the dark with a review...

To preface -- I'm well acquainted with Tennessee Williams work. Thus, I didn't go in as a "blank slate" to the show. I've read the play and thus, know how it ends.

Overall, I wasn't impressed with this production at all. The direction, staging, and characterizations seemed to be lacking. Jessica Lange -- who I've seen give brilliant performances -- never really captures the essence of Amanda. Her character is a bit too young -- she moves very fluidly, which seems contrary to an older woman well past her day in the sun. Similarly, Sarah Paulson's Laura winds up being a completely unsympathetic character. While the character is supposed to be "lame" and painfully shy, I do not believe that Tennessee Williams ever intended her to be "slow" - which is the impression she gives off at times. Her motivation seems to be derived from a lack of understanding of social mores and practices vs. having lived a sheltered existence.

The staging is really awkward -- several scenes take place behind a curtain (as in one you would hand on a window). I tried to derive some symbolic meaning behind this action, but found myself at a loss. For example, Lange delivers the beginning of her famous "17 gentlemen callers" speech while hidden behind this curtain. Similarly, the fight between Amanda and Tom also occurs while they are behind the curtain. It seems we actually lose a lot of emotion, since their actions and expressions in these scenes are relatively hidden.

Earmuff warning - the transition music between scenes is AWFUL.

Hopefully, A Streetcar Named Desire will prove to be more entertaining.

That's kind of disappointing to hear...it is very very very early, so maybe they'll change things around. I don't understand what you mean by behind curtains, but we'll see. I usually LOVE David Leveaux's work, so we'll see...

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The staging is really awkward -- several scenes take place behind a curtain (as in one you would hand on a window). I tried to derive some symbolic meaning behind this action, but found myself at a loss. For example, Lange delivers the beginning of her famous "17 gentlemen callers" speech while hidden behind this curtain.

This is actually how Williams wrote it to be staged: the opening scene (with Amanda's speech about her gentleman callers) is supposed to be seen through the translucent drapes in front of the dining area.

I just did a class presentation on this, actually. The use of this "second curtain" is used to frame the scenes behind them as explicitly theatrical moments, and to distance the audience. So that loss of emotion you describe in the fight scene may actually be intentional, especially if the lighting focuses on Laura instead (as written in Williams' stage directions).

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Updated On: 2/26/05 at 01:59 AM

Interesting review. You mention Jessica Lange as moving too fluidly. The truth is that Amanda Wingfield is not supposed to be an old lady. She's only 45-50 years old in the play. Unfortunately, she is usually played like a woman of 85, but that is really not the case. She is young! Perhaps that is what the director is trying to emphasize inthis production, that she is still vital!

Best,

Miriam

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Updated On: 2/26/05 at 09:51 AM

I disagree with aspects of the review. I caught the production last night. Given that previews just started, there are certain kinks to work out.

Starting with the negative, I'm not loving the strange modern aspects of the set, such as the rectangular light box that defines the perimeter. It's reminicent of fluorescent lights. And the New Age-y music does NOT help, particularly after intermission when it sounds like nails on a blackboard.

I did like the use of the curtains. Scrim-like in nature, you felt you were looking into the windows of the household. Opaque in nature, people remain "hidden" with the secrets they hold, while still able to be "observed."

The back wall of the stage is beautiful in its verticallity. A sense of entrapment of the Wingfields in the lower rungs of life.

The actors are the selling point of this production, though. I thought Jessica Lange gave a wonderfully nuanced performance. Not too young at all! Her "youth" plays to her advantage when she revisits her memories of her upbringing. It's not difficult to see her at that faded Southern beauty, particularly the scene when she comes out in her debutante dress. Sarah Paulson is the most competely realized character in this production though. You start sympathizing with her during the "business college drop-out" scene. And focus on her during the latter part of the second half. Just when she gains an inkling of confidence in being "pretty" from the Gentleman Caller, only to have it crash down on her, is nothing less than devasting. Joey Collins did a wondeful job as Tom. I thought he started off slow with his monologues. But he grew into the role (given the circumstances in which he was thrust into it, remarkably well) as the performance progressed.

I saw it last night, as well, and agree with KMF and Kissmycookie.

Technical glitches will, no doubt, be worked out. None of them were bad enough to detract from the overall enjoyment of the performance, however.

I agree about the 'modern' elements of the lighting, although it grew less distracting as the show developed. The use of the lamps and candles, however, were well suited to the time period of the play.

The performances were riviting and nuanced and worked for me, to the point of wanting to see it again so I can watch the characters I didn't focus on the first time. (Absolutely focus on Laura during the scene when the Gentleman Caller reveals his truth - brilliant expressions!)

I wanted each of the characters to find what they were seeking so badly: the performances made me CARE.

I hope Mr. Slater is up to the task. Bravo to Joey Collins.

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Updated On: 2/26/05 at 01:13 PM