Following Rich Jevons’ review of Headlong Theatre Company’s The Glass Menagerie which he described as “a powerful piece of theatre that hits home … with great theatrical dexterity and emotional depth”, Pete Gray gives his version of events at West Yorkshire Playhouse:
From the outset, the impression of The Glass Menagerie’s fractured world becomes established through the use of a literal and materially dilapidated fourth wall with Tom, played by Tom Mothersdale. This helpfully reveals the societal context of the impending action, initially through his informal pre-set presence and subsequent direct address to the audience.
By also utilising this device in the opening proceedings of Act Two, and at pertinent times throughout the performance, Tom gives voice to Tennessee Williams’ insightful observations about these four people for whom the ‘American Dream’ of the 1930’s appears unattainable, by focusing on their illusions of hope and very real fears, in this memorable ‘Memory Play’.
Staging by Headlong’s designer, Fly Davis, reflects the bold choice of a fixed, minimalistic set which succeeds in providing the austere atmosphere of a wholly appropriate environment.By its very nature the play relies heavily on the cast’s acting ability to constantly draw the audience into engaging with the characters and their emerging situational relationships.
So Greta Scacchi, as Amanda, (Tom and Laura’s mother) gives a sterling performance as she romanticises delusional memories of her ‘might-have-been life’. This ultimately meanders towards her present-day reality. In the midst of Amanda’s partially interrupted flow of incessant ramblings it is easy to forget this is all a scripted performance, amazingly sustained in Scacchi’s performance.
As Jim (Eric Kofi Abrefa) and Laura (Erin Doherty) edge towards a moment of future optimism in Act Two, relief from the dominance of Amanda’s character is provided. Laura’s personality visibly blossoms, thinking that she has found true love and intimacy of which she has been been forever hopeful, only to find such dreams are not meant to be as they evaporate, as instantly as they appeared. With Jim’s entrance as a ‘gentleman caller’ comes the welcome opportunity for further comedic counterpoint to be explored with Laura through refreshing rhythms of vocal interplay, but sadly the insistence of tragic disappointment wins the day.
As dire and depressing as The Glass Menagerie is in its subject matter, Headlong and the cast have made a very good stab at grappling with a meaningful interpretation of Tennessee Williams’ hard-hitting gritty text. But it is sad to note that this despair resonates all too strongly into present day experience, for some in the early twenty-first century.
Reviewed by Pete Gray on: Friday 18th September 2015, West Yorkshire Playhouse, Leeds – showing until 3rd October 2015; then touring see http://headlong.co.uk/work/the-glass-menagerie/venues/