#126
Posted: 2/11/17 at 10:14am
Yikes... should I sell my tickets??
"See that poster on the wall? Rocky Marciano." - Andy Karl as Rocky in 'ROCKY'
THE GLASS MENAGERIE Previews (2017 Revival) — Page 6
#127
Posted: 2/11/17 at 10:22am
Skimbleshanks2 said: "Yikes... should I sell my tickets??"
My thoughts exactly. This sounds awful.
#128
Posted: 2/11/17 at 10:44am
Yeah, I'm peacing out on this too.
#129
Posted: 2/11/17 at 1:00pm
All of this makes me glad I decided to see the Tiffany production again in London than buying tickets for this one.
#130
Posted: 2/11/17 at 1:00pm
Sally Field is not "stuck" in this production. I'm sure she knew the concept before signing on. Shame to hear about Mantello - his performance in THE NORMAL HEART is one of the best I've seen onstage.
"Oh look at the time, three more intelligent plays just closed and THE ADDAMS FAMILY made another million dollars" -Jackie Hoffman, Broadway.com Audience Awards
#131
Posted: 2/11/17 at 1:23pm
Interesting revelations in this discussion: the use of a physically challenged actor here doesn't send a message of inclusivity and expanded opportunity, but re-focuses the play to more baldly victimize Laura and as two people noted, exploit the actor. If you cast, say, a hearing impaired Jim, you'd create opportunity. When you take a character whose challenges are treated in entirely era-specific ways in the text (and whose challenges are filtered through memory, duly noted here) and give it to someone who must work with his or her own, you double the spotlight on Laura in a potentially negative way. I'd never considered this until reading this thread.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
#132
Posted: 2/12/17 at 10:35am
I saw this on Friday Night and while I was not in love with this production, I did enjoy it. I should preface this by saying this was my first experience seeing Menagerie. I really enjoyed Mantello in the role and he was my personal favorite in this production. I thought Field was also very good. I had a hard time seeing the gentleman caller scene from the last row of the Mezz due to the lighting choice, which while I did love made it hard for me to catch some of the subtleties in his performance. I would have to agree that Laura was a pretty one note performance from where I was sitting and anything I felt for the character was a result of Gold using the actress's disability to manipulate feeling. I didn't have a problem with the minimalist scenic and lighting design and loved some of the special moments that Gold put into place. The ending really bothered me though. On my ride back after the performance I had to pull up the script and read what the ending was as written because it doesn't match what Gold has put on stage. I lost all the beauty in the final moments that I was waiting for. I'd consider seeing it again if I got front row rush to see if it improves my experience. I'm glad I saw it, but more so glad I saw it through TDF. If I had payed full price I would have been disappointed.
#133
Posted: 2/13/17 at 11:13pm
Just back from The Belasco. Wow. If you have tickets, keep 'em and if you don't, get them.
I was blown away from this production. After reading posts here, I was expecting a train wreck. That's why if you have any interest in a production, you have to see it for yourself.
First, a privilege to hear this play again in any production. They really don't write them like this anymore. All four actors are wonderful, Joe Mantello, Sally Field, Madison Ferris and Finn Wittrock. Had no problem with any of the things that have been mentioned here. I won't go into them again, they're all here.
The stark bare stage takes on a magic of its own as the play progresses. You could hear a pin drop, except for the cell phone that went off in the quiet Gentleman Caller scene! The audience was riveted.
I was sobbing at the end of this show.
Of course, IMHO. But I do recommend it and will be back to see it.
P.S. Sam Gold's touches are all over this production. I don't want to spoil anything but there are some great usages of this old theatre that are wonderful.
#134
Posted: 2/14/17 at 11:06am
When I first read this, I interpreted the scene where Jim breaks the unicorn very differently.
To me, the unicorn represented Laura, who always felt different (much like the unicorn was different from the other glass animals). But when the horn broke off, Laura mentioned that it was now like all the others (something like that). Dancing with Jim made her, too, feel "normal" for the first time in her life.
More optimistic than Laura and the unicorn just getting "shattered," I guess.
https://newplayexchange.org/users/99643/amanda-delalla
#135
Posted: 2/15/17 at 10:09pm
Those who have rushed in the past few days, how early did you get to the theater? Thanks!
#136
Posted: 2/19/17 at 10:44am
Meh...SALLY FIELD is a talent and I enjoyed FINN WITTROCK... but... there were too many artistic choices that did not match the size or power of the BELASCO THEATER...I don't know what SAM GOLD was thinking (the lights staying on for what felt like 30 minutes? Ughhhh)
The show got better with time but I also left feeling very underwhelmed...poor staging, direction and a lack of set will do that to a show like this...One of the great disappointments of the season... but SALLY FIELD was excellent. So, cool, I guess?
"See that poster on the wall? Rocky Marciano." - Andy Karl as Rocky in 'ROCKY'
#137
Posted: 2/19/17 at 11:41am
I went last night and really enjoyed it. This was my first exposure to Glass Menagerie, and it really is a beautiful play. I'm not sure if I completely understood the staging choices towards the beginning of the play, with the house lights on (my best guess is that the lights get darker as we get deeper into Tom's memory), but once the Gentleman Caller arrived I thought the staging was gorgeous. In particular, I loved Tom moving the Paradise sign to better illuminate Jim and Laura before they danced- it was really lovely.
The cast was strong across the board for me. I was in the rear mezz, and I would recommend sitting closer, but the performances still all carried (I also had no trouble hearing anyone). I found myself with steady stream of tears that snuck up on me by the end- it's a quiet production in lots of ways, but it delivers emotionally towards the end.
I can certainly understand why it wouldn't be to everyone's taste, but I enjoyed it and would absolutely encourage people to check it out.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
#138
Posted: 2/21/17 at 9:29am
As a huge fan of the John Tiffany revival, I was thoroughly disappointed and unimpressed by this. The cast had no chemistry. Sally wasn't big enough-- a subtle Amanda Wingfield is not what the text calls for. And agreed on the ridiculous pink dress.
And why was Madison crawling all over the floor? It was exploitative.
The design did not make any sense. Too bad.
Updated On: 2/21/17 at 09:29 AM
#139
Posted: 2/21/17 at 9:31am
KJisgroovy said: "This production originated at Toeelgroep Amsterdam... seems a fairly straightforward reference to me. "
This. The Ivo comparisons are completely called for. I mean, the record player and the vinyl are sitting on the stage-- which to me is a Van Hove hallmark. But the Ivo productions we've had here recently are actually good. Unlike this production.
"There seems to be a concept at work here, but no direction to speak of. We have four actors who appear to be in four different productions of The Glass Menagerie."
Agree 100%.
Updated On: 2/21/17 at 09:31 AM
#140
Posted: 2/22/17 at 10:52am
I rushed this play yesterday- front row, center. I was fourth in line at 9:30 and it was just us four until the box office opened at 10am so as of right now it's an easy rush.
Like others, this was my first time seeing The Glass Menagerie on stage and I thought it was ok. It was worth the rush, didn't mind the lack of an intermission and loved the leg room in the first row. It took a moment to adjust to Mantello's Tom and although Sally Field was charming it didn't read Amanda for me. Finn was fine and I agree 100% with Whizzer regarding Madison's Laura.
#141
Posted: 2/26/17 at 1:26am
I thought this production was exceptional. I've read the play many times, I've seen the John Malkovich movie, the Roundabout revival, the John Tiffany revival, and now this. And I think it may just have become my favorite play.
What I loved the most about Sam Gold's production was how grounded it all felt and how good it was to simply hear the text and story and focus on the character dynamics. Sally Field is easily the most sympathetic Amanda I've ever seen, which illuminates Williams's text in brand new ways. Also, I have never felt the Gentleman Caller scene as realistically as I did this evening. The closeness and the tension was palpable.
For those viewing Madison Ferris's actual handicap as exploitative, I rebut that by adding that I've never seen Laura as less pathetic or more in control of her emotions as I did with this production. Actually casting her as physically "other" allows the actress room to breathe as a living person rather than a pathetic ragdoll with put on affectations of disabilities.
I can't wait to revisit this production. I sobbed openly for the last 5 or so minutes. Just wonderful and lovely.
Updated On: 2/26/17 at 01:26 AM
#142
Posted: 2/26/17 at 10:20am
I second ColorTheHours.
My boyfriend and I saw this on Thursday. We loved it. We were over the moon for the Tiffany production but after seeing Gold's version, Tiffany's almost seems cartoonish.
Fields is giving a very realistic interpretation of Amanda - a women who starts the play at the end of her rope. The only time she puts on any sort of Southern facade is when the Gentleman Caller comes in. Otherwise, she's not pretending to be anyone other than who she is because she simply doesn't have the time or the energy to perform something else. She is doing all she can to hold it together and may break at any moment. It made the desperation of her character palpable. Whereas with other interpretations of Amanda the audience is left thinking they'll survive. Here, you're left thinking that she's not going to make it right from the start but she can't admit to herself how truly screwed she is.
I did not find Ferris' handicap exploitative at all. I also think it works fine with the text. Does Amanda say it's barely noticeable? Yes. And this further emphasizes how out of touch she is with reality. To borrow from ColorTheHours, she was the "other" in the room. It was an unexpected portrayal that I never would have envisioned. I can see why it wouldn't work for some. It worked perfectly for me.
Mantello was great. His age actually enhanced the role for me. I can't put my finger on it. It made more sense to have an older man looking back on all of this. Mantello also has such an easy command of the stage. He grounds the poetic language so well.
Wittrock is giving a very literal interpretation of the Gentleman Caller. While true to the text, I almost wish he had been more romanticized. I kept thinking that if Finn Wittrock showed up at this girl's door with flowers it would be easy to see how her breath would be taken away!
The set design and lighting were typical Gold/Van Hove. I thought they worked to great effect (Why is no one talking about the great and super subtle effect of the moving table! How Brilliant!). The rain and the lighting during the Gentleman Caller scene made for such a velvety, Southern feel.
My only criticism is that I do think this should have played off-Broadway. The audience on the night I was there was not expecting something so abstract. I could see a lot of tourists, Jersey and Long Islanders who had come to see Sally Field and left during the show wondering what the hell they were watching. Having folks leave during the middle of a scene is rough on everyone. But I can see how someone who is not engaged could feel like the show was neverending. Putting this up at The Public, St. Ann's, BAM or NYTW would have made a bit more sense to me and may have given this a more intimate feel to an already intimate production.
Overall, a great interpretation of one of America's finest plays. Hats off to all involved.
#143
Posted: 2/26/17 at 1:42pm
So happy to hear those last two reports. I have tickets for April and whether I enjoy it or not, I'm excited something like this is on Broadway. If we keep saying "This should have played off-Broadway, or this should have played at BAM" and if these pieces are indeed relegated to limited runs at these non profits, Broadway would become nothing but commercial, touristy bull@#$% and that would...suck. I'm so happy a risk like this is being taken at the commercial Broadway level and hope it can expand audience's views of what theatre can do and be. Thanks for all of your thoughtful posts on the show!!
#144
Posted: 3/8/17 at 5:42pm
There was one early message on here saying that the balcony seats are pretty terrible for this and effectively all partial view. I wanted to ask if anyone else has sat up there and can chime in. I've seen so many production of The Glass Menagerie and word of mouth is so mixed on this one that I'm wary of spending top dollar to see it, but at the same time, shelling out thirty extra dollars for the rear mezz if the balcony is really atrocious might be worth it. So...any thoughts on seating for this particular production would be most helpful and most appreciated.
#145
Posted: 3/8/17 at 6:04pm
Sauja said: "There was one early message on here saying that the balcony seats are pretty terrible for this and effectively all partial view. I wanted to ask if anyone else has sat up there and can chime in. I've seen so many production of The Glass Menagerie and word of mouth is so mixed on this one that I'm wary of spending top dollar to see it, but at the same time, shelling out thirty extra dollars for the rear mezz if the balcony is really atrocious might be worth it. So...any thoughts on seating for this particular production would be most helpful and most appreciated.
i believe the rear mezz in the belasco is atrocious all together and nothing to do with this production. I remember walking up during blackbird and noticing how awful the view was. I haven't seen this but I doubt its better.
"
#146
Posted: 3/8/17 at 6:27pm
Sauja, if you're eligible for LincTix, those are in the rear mezz and they're fine. It's a little difficult to adjust at first during the Gentleman Caller/Laura scene since it's played in only candlelight, but they're good seats for the price.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
#147
Posted: 3/9/17 at 9:54am
Thanks, Wizard. Sadly, I aged out of LincTix this year, so my options are $39 for balcony or $69 (discount) for rear mezz. Appreciate your opinions on the rear mezz view. If anyone else can speak to the balcony, that would be lovely. Thanks!
#148
Posted: 5/13/17 at 4:30pm
I have a window card for the show that I bought from Triton that I would love to get signed. Are they strict about only having playbills signed at the stage door? Thanks so much for all your help!
#149
Posted: 5/13/17 at 5:00pm
mattmarkowski99 said: "I have a window card for the show that I bought from Triton that I would love to get signed. Are they strict about only having playbills signed at the stage door? Thanks so much for all your help!"
If I remember correctly, the rule is that it's only material from the show, which would include posters. At least that's the standard protocol in these situations, and I'm pretty sure it's the same here. So unless they're being abnormally persnickety, I doubt they would refuse to sign your poster.
#150
Posted: 5/13/17 at 6:24pm
This is, hands down, one of the worst and most misguided productions of anything I've ever sat through. There isn't one thing that Gold did with this play that worked. It's almost as if he went through the right way to put on this play and made the complete opposite choices. It left me with my jaw on the ground wondering what the actual hell anyone was thinking. The only person who comes away feom this without looking embarrassing is Finn, probably because he was quite good and has the least to do (besides sit on a wet stage for 20 minutes WTF).
Im glad I saw this, though. It'll always be one of those things I can say "I saw this and you won't believe what a f*cking disaster it was." Like BKLYN and IN TRANSIT, the reason there's no intermission is most probably because the house would be empty for Act 2.
Updated On: 5/13/17 at 06:24 PM
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