Review: The Glass Menagerie at The Ensemble Theatre

Review by Scott Whitmont

Now, over 80 years since its Broadway debut, it’s a testament to the powerful writing talent of Tennessee Williams that The Glass Menagerie still holds up so well as a superlative, relevant and entertaining theatrical drama. Equally, it's a testament to the directing prowess of Liesel Badorrek and, indeed, the entire cast and production team, that the Ensemble Theatre’s latest retelling of this much-loved play had the opening night audience in a rapturous standing ovation.

In their less than salubrious Depression era St. Louis apartment, life is not easy for Amanda Wingfield (Blazey Best) and her adult children Tom and Laura. A former Southern belle who is forever regaling her children with stories of how many ‘gentle callers’ she had knocking at her door, circumstances have much changed since Mr. Wingfield (who worked for a telephone company and “fell in love with long-distance”) left the family 16 years earlier. Though not physically present, the spectre of their father still dominates their lives – and the set – his large image forever staring down malevolently from above the mantelpiece.

Amanda is domineering and garrulous, determined to find a beau for the painfully shy and fragile Laura, who is prone to panic attacks and has a limp left over from a childhood illness. A ‘gentleman caller’ for her might just be their ticket to a better life than their current mundane, depressing existence. Enter Jim O’Connor (Tom Rodgers), a warehouse workmate and former school chum of Tom’s invited to dinner in a not-well-disguised, obvious set-up.

The cast quartet each bring their sad yet hopeful characters to life, often with mesmerising aplomb – particularly the brilliant Blazey Best, around whom so much of the play revolves. Amanda is at times egotistical and manipulative and at others, coquettish and caring. Best’s beguiling performance is spellbinding.

As Laura, Bridie McKim gives heart to the production. She subtly balances her character’s introversion and self-doubt with romantic dreams and nascent confidence and optimism. As an actor with cerebral palsy who is an active disability advocate, she brings, perhaps, an innate understanding and sensitivity to her role.

The disgruntled Tom dreams of a better future in which he can travel and move on from supporting his mother and sister. Danny Ball plays him (as well as our narrator) with passion and intensity, echoing through the decades the frustrations and hopes of Tennessee Williams himself, who penned The Glass Menagerie inspired by his own early family experience.

The handsome Jim seems to be an ‘apple pie’ all-American would-be suitor for Laura, showing intelligence and ambition before his deceptive, untrustworthy character slowly emerges. Rodgers plays him with just the right mix of cockiness, refreshing confidence and shining charisma.

Grace Deacon’s set design of the Wingfield apartment is simple yet effective, particularly with the stage-left fire-escape terrace, its rusting metals steps and railings projecting from the wall. Her costume designs perfectly reflect the fashion of the times and further enhance each character’s personality. Amanda’s ‘Southern belle’ gown that she dons for Jim’s visit is a particularly entertaining stand-out.

Verity Hampson’s lighting design also adds drama and atmosphere to the story of this dysfunctional and somewhat lost family, with shimmering shadows at one stage projected onto the apartment’s wall at day’s end and in another scene, the shadows of the offstage Amanda and Tom strikingly arguing in silhouette by the living room mantle.

The beautiful and often-haunting music by Maria Alfonsine and Damian de Boos-Smith was originally composed for the production and is played on cello, organ and (we are told in the program notes) cristal baschet, a contemporary instrument made of glass - an appropriate connection the play’s title and an homage to Laura’s eponymous treasured collection of miniature figurine animals.

The Glass Menagerie, as our Narrator tells us in the opening scene, depicts “the slow implacable fires of human desperation.” Strangely satisfying, its ending - as in life -leaves the futures of our protagonists inclusive. What IS certain, is that this is a production not to be missed.