The Glass Menagerie

The Glass Menagerie is frequently billed as a tragedy which delves into the unquiet soul of dysfunctional family relationships. Arguably one of Tennessee Williams’ best works, this play has often received mixed reviews even on the West End for not quite capturing the weight and depth of the story. 

Each character bears heavy burdens, the weight of abandonment, disability, financial hardship or loneliness and by design or opportunity, each makes their own personal bid to reshape their fortunes. Deliberately crafted to convey complex personalities, remembered anecdotally and portrayed with the air of unreality that a recollection carries, with its Brechtian undertones, this is a challenging show to stage.  

But not in the hands of Wells Little Theatre. This team had slipped between every page of the script and brought it to life with absolute sensitivity and empathy. The result was brilliant piece of storytelling, gripping and compelling. This show not only had me on the edge of my seat from the get go, but I was still thinking about it days later. 

Stepping into the auditorium, you’re drawn into the St Louis apartment home of Amanda Wingfield which she shares with her children Tom and Laura. The apartment is set with two brick wall wings either side of the front of the stage, which, when they move, reveal the outside of the apartment with its fire escape, calling to mind the back streets of a down at heel neighbourhood. 

To the back of this thirties room is a continuously twinkling display.  It is the glass figures collected by Laura, Amanda’s daughter. Throughout the play she picks up the creatures and gazes transfixed and childlike at the glistening ornaments.   At the front of the room is a table set with a meal with no food on the plates, adding to the dreamlike quality of the scene which is recalled by Tom, the narrator of the story. 

The play opens with Tom setting the scene. Although I was instantly struck by how good the actor’s accent was, I was swiftly drawn into the story as much by the atmosphere created by Tom’s body language, the lighting and the staging.  

This is a four hander but the first half of the show is performed by Tom, Laura and Amanda. Each player had their accents absolutely nailed and once you’d noticed that you forgot it straight away, such was the power of the performances. Amanda, a rattling and slightly tragic figure was played beautifully, believable, funny and endearingly irritating. Laura gradually drew you into her world, childlike, vague, anxious to please but ultimately full of layers as she finally faces off Jim with stricken dignity. It’s a lovely performance. 

And Tom, holding the family and story together took you on his journey of frustration and desperation peppered with affection for his family and their lot. 

The introduction of Jim in the second act sheds new light on the show as he gives us a different glimpse of Tom and Laura and changes the gear of the story. Another superb performance, he brings hope and charm into the household before finally introducing his fiancé into the conversation, thereby dashing the dreams of Amanda, Laura and (believe me) the audience. 

There was nothing arbitrary about any part of this show – it was very evident that a huge amount of work and insight had been at play.  This was a powerful piece of theatre, which conveyed not only great acting and stagecraft but also the vision lent to the piece by the Director. The lighting, sound costume were perfectly matched and the movement, creation and use of the wings were inspired. 

All of which contributed to a superb evening - congratulations to the team – what a show!

Katie Jones

NODA 

Any observation made by the reviewer can only be based on what they see at the performance in question.  The reviewer may have received information in advance of the performance, and it is inevitable that their assessment will be affected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other

performances and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

 

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