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The Glass Menagerie
By Tennessee Williams
Directed by Charles Newell
At Court Theatre
5535 S. Ellis
Chicago, IL
Call 773-753-4472, tickets $26 - $50
Wednesdays & Thursdays at 7:30 PM
Fridays at 8 PM
Saturdays at 3 & 8 PM
Sundays at 2:30 & 7:30 PM
Running time 2 hours with no intermission
Through April 9, 2006
“The Glass Menagerie is the saddest play I have ever written.”
---Tennessee Williams
Intense Glass Menagerie richly emotional
Court Theatre’s take on the Tennessee Williams classic attempts to reconnect with the playwright’s exploration of expressionistic elements as Williams tries to move away from the realism of 1940’s theatre. The use of bright yellow set, suggestive of the jonquils Amanda refers to, and the stark lack of any but essential props creates a cage-like intimate space that underscores the choking claustrophobic feeling Tom experiences through his memory of those days in St. Louis in the late 1930’s. (Set design by John Culbert) Add eerie, spot-driven lighting by Marc Stubblefield and this production evokes the desperation and gloominess of the family. Williams’ autobiographical seminal poetic memory play, first staged in 1944 in Chicago, drives home the author’s sentimental elements of the text. Court Theatre’s two hours production moves swiftly and carries added emotional depth by not having an intermission. I wish more strong plays would move to the one act format.
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The Glass Menagerie is one of my favorite plays featuring Williams’ poetry of symbols in his memory work set amidst the hint of impending war, the Great Depression and labor unrest as it unites details of his delta childhood, his demanding mother, his delicate, challenged sister Rose and his youthful experience in a warehouse in St. Louis. Filled with sexual repression and new Dale Carnegie positive thinking psychology and the subtle agony of loneliness and boredom, The Glass Menagerie still packs a wallop today as, in Williams’ own words: “an effort to explore the beauty and  meaning in the confusion of living.”
Jay Whittaker, as Tom Wingfield, grabs us from his opening monologue as he deftly sets the atmosphere of the late 1930’s. With four tremendous talents, The Glass Menagerie delivers a superb, beautifully-wrought evening of theatre.
Mary Beth Fisher was perfect as the controlling and delusional mother, Amanda unable to cope with the loss of her husband ever after sixteen years. Fisher has the Delta Southern accent going as she delivers her memories of coming of age as a Southern belle. Fisher glides across the set with poise of character from a Southern gothic novel. Chaon Cross, as the crippled shy Laura, radiates the innocence of an unspoiled beauty. Cross’ subtle and convincing performance is rich in empathy. Ned Noyes plays Jim, the gentleman caller with a sincerity and charm that wins us. Usually Jim is played much too stiff and cold. Noyes’ gives Jim kindness and warmth.
Jay Whittaker plays Tom stronger that most. Right from the opening monologue set atop the set, we hear the pain and restlessness Tom feels. Whittaker, a Montgomery Cliff type, prowls the metal fire-escape ramp that surrounds the set throughout the play as her looks and remembers everything from those bleak days. Whittaker gives Tom a more emotional, rage-filled persona than most productions. I think this was the correct interpretation.
Williams’ wrote concerning this play: “the glass animals came to represent the fragile, delicate ties that must be broken, that you inevitably break, when you try to fulfill yourself.”
The Glass Menagerie sure is an evocative look into the world of agony and longing. The riveting emotions build in this sad recollection. Kudos to director Charles Newell for nailing the grimness of Tom’s past.
Highly Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed March 18, 2006
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