IT is always so delightful when a script from over 50 years ago still stands up incredibly well in today’s fast-moving and ever changing culture and climate. Tennessee Williams’ 1944 play, The Glass Menagerie is a prime example of this and is what hurtled its playwright from obscurity into the spotlight at the time of writing. It isn’t hard to see why, with such a poignant storyline and complex, multi-faceted characters, the play doesn’t seem to date, even though many of its central themes are extremely old fashioned. John Tiffany’s latest production at the Duke of York’s Theatre, London is an absolute pleasure to watch, slickly directed and carefully thought out, underpinned by an exceptionally talented cast of four, who leave the audience hanging on their every word.
Michael Esper as Tom in The Glass Menagerie. Photograph: Johan Persson
Rooted strongly in autobiographical references, The Glass Menagerie, introduced by Tom, (Michael Esper) in the opening sequence as a “memory play”, is a shrewd portrayal of family life in a dingy 1940s St Louis apartment. Mirroring Williams’ own dysfunctional home life, brother and sister Tom and Laura Wingfield live in the shadow of their overbearing mother, Amanda, played by Cherry Jones.
Laura played by Kate O’Flynn in The Glass Menagerie. Photograph: Johan Persson
A classic Southern belle, Amanda has been abandoned by her husband and father of her children, many years previous, and has crippling fears for the emotional and financial future of Laura and Tom. As the story develops, we learn that Amanda is desperate to find her painfully shy daughter a male suitor.
Upon discovering that Laura (Kate O’Flynn) has not been attending the business school that Amanda has been paying for, the desperation for the security of Laura’s future grows more obsessive. In an attempt to stop his mother pestering him, Tom invites a work colleague from the warehouse around to dinner, played by Brian J Smith hoping that he will see the potential in his sister.
Cherry Jones as Amanda in The Glass Menagerie. Photograph: Johan Persson
Without a doubt, the two females in this play really steal the show. Cherry Jones’ Amanda is everything you want it to be – neurotic, hilarious, cringe-worthy, powerful and painful. She commands the stage with her incessant chatter, slowly gnawing away at her son Tom, passing comment on his every movement and driving him to escape the apartment each night to go to the “movies”.
Brian J Smith and Michael Esper in The Glass Menagerie. Photograph: Johan Persson
She captures the fragility of memory so flawlessly, as she parades around the apartment in a garish frilly dress which she wore to the ball on the night she met her husband. Trapped in the past and terrified of the future, Jones conveys both Amanda’s vulnerability and matronly authority so perfectly. Similarly O’Flynn’s portrayal of Laura is so delicate and heart wrenching; you can’t help but fall in love with her.
Brian J Smith in The Glass Menagerie. Photograph: Johan Persson
The way O’Flynn distorts both her body and her face to represent Laura’s minor leg disability and extreme shyness is quite remarkable. The quiver of O’Flynn’s voice is so childlike and vulnerable, that it is a joy to watch her relax and smile as the climatic encounter with the gentleman caller allows her to open up and let her endearing and charismatic nature radiate through.
Cherry Jones and Kate O’Flynn in The Glass Menagerie. Photograph: Johan Persson
The plays trembles beautifully between dream and realism, highlighted by a stunning set design by Bob Crowley. Light, darkness and reflection play a crucial part in the story, as Laura’s obsession with her glass animal collection often takes her away from the pain and awkwardness of daily life. The apartment seems to be floating on water, as delicately placed fairy lights illuminate each time one of the characters steps into an illusion, before being snapped back into the real world. Candles, Chinese lanterns and lit cigarettes all serve to reinforce the artistic, emotional and artificial nature of the play.
Brian J. Smith, Cherry Jones and Michael Esper. Photograph: Johan Persson
This is a performance not to be missed as John Tiffany captures the beauty and fragility of memory, escapism and illusion in this fantastic revival of the play which put Tennessee Williams on the map as one the greatest playwrights of 20th century American drama.
by Heather Doughty
Images by www.perssonphotography.com
@dukeofyorksLDN
The Glass Menagerie runs at the Duke of York’s Theatre until April 29, 2017
Duke of York’s Theatre, St Martin’s Ln, London WC2N 4BG
Box office tel: 0844 871 7627
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