Kate O’Flynn as Laura and Brian J Smith as Jim
(Photo: Johan Persson)
021 – The Glass Menagerie, by Tennessee Williams
The narrator tells us up front: “The play is memory. Being a memory play, it is dimly lighted, it is sentimental, it is not realistic….I am the narrator of the play and also a character in it. The other characters are my mother, Amanda, my sister Laura, and a gentleman caller who appears in the final scenes.” The narrator is Tom, an aspiring writer who is trapped in the “living death” of a job in a shoe factory and the claustrophobia of life in a small apartment in a tenement in St Louis with his mother and sister. The play which Tom narrates, and plays his part in, consists of a series of snapshots of the family’s life back in 1938, filtered through the emotional lens of Tom’s memory. The play is very much “a picture of my own heart”, as its author Tennessee Williams said about the intent of all of his play writing, and in this case it is a particularly personal portrait of Williams’ own family. The Glass Menagerie was Tennessee Williams’s breakthrough, opening in March 1945 on Broadway to rave reviews, and its box office success catapulted its 34-year old author to fame and fortune, a status affirmed two years later with the Broadway success of his most famous play A Streetcar Named Desire.
The Glass Menagerie is now a standard on educational curricula and in perennial theatrical revivals, loved for its heart wrenching portrayal of the hopes and disappointments of this flawed family, and admired for its theatrical technique and poetic dramatic language. The play was brilliantly staged in 2013 on Broadway in a production directed by John Tiffany, which was revived in 2017 in London’s West End, with Cherry Jones repeating her role as Amanda, and Kate O’Flynn giving an ethereal performance as Laura. I am absolutely delighted to be joined in this episode by the director John Tiffany to share his insights into this enduring classic.
John Tiffany is the winner of two Tony Awards, an Olivier, a Drama Desk and an Obie award as a director and his productions have earned countless other award nominations and wins. His recent work includes Harry Potter and the Cursed Child in both London and New York (Tony and Olivier Awards for Best Direction of a Play); The Glass Menagerie (A.R.T., Broadway and West End); The Ambassador (BAM); Pinocchio (National Theatre); Once (Tony Award for Best Direction of a Musical). For the National Theatre of Scotland he directed Let the Right One In (also Royal Court, West End and St. Ann’s Warehouse); Macbeth (also Lincoln Center and Broadway); Enquirer; The Missing; Peter Pan; The House of Bernarda Alba; The Bacchae (also Lincoln Center); Black Watch (Olivier Award for Best Director); Elizabeth Gordon Quinn; Home: Glasgow. As Associate Director at the Royal Court Theatre, productions include The End of History, Road, The Twits, Hope and The Pass.
John was educated at the University of Glasgow (M.A. in Theatre and Classics). He was founding Associate Director at the National Theatre of Scotland from 2005–2012 and a Radcliffe Fellow at Harvard University from 2010–2011.
John recommended Escaped Alone by Caryl Churchill – see episode 30!
Our Footnotes to The Glass Menagerie include Tennessee Williams’ innovative ideas about lighting as an element of what he called his “plastic drama”; the endearing ambiguity of the character of Jim, the gentleman caller; the infinite distance of memory; and the explosive times the play was written and set in.
BECOME A PATRON!
Since I launched The Play Podcast in April 2020, I have managed to eschew any form of advertising or sponsorship, and I would like to continue to produce the podcast without doing so. I therefore invite you to help me to continue to make the podcast by becoming a Patron.
Additional benefits available to Patrons include Footnotes on the plays covered in the podcast, as well as exclusive access to The Play Review.
For details click here
Thank you very much for listening and for your support.
Published 4th December
Lynn Nottage’s play Clyde’s is set in a truck-stop diner on the outskirts of Reading, Pennsylvania. This is no ordinary diner though, because the short-order cooks that make the sandwiches that the diner is famous for are all ex-cons. But the eponymous proprietor, Clyde, has not offered these characters a second chance out of the softness of her heart.
Lynn Nottage has won the Pulitzer Prize for drama twice, and as we record this episode the European preview of Clyde’s is on stage at the Donmar Warehouse in London. I am delighted to be joined by the show’s director Lynette Linton, who also directed Nottage’s last play Sweat at the same theatre in 2018.
The poet Percy Shelley called King Lear “the most perfect specimen of the dramatic art existing in the world”. It is a prodigious play in every sense. There are ten major roles, it has multiple significant plot lines, an elemental stormy setting, intense domestic conflict, and acts of war and violence which roll on with a propulsive tragic energy and conjure a challenging philosophical vision.
As we record this episode a new production directed by and starring Sir Kenneth Branagh arrives in London’s West End.
I am very pleased to be joined in this episode by Paul Prescott, who is an academic, writer and theatre practitioner specialising in Shakespearean drama.
Arthur Miller’s A View from the Bridge tells the tragic story of Eddie Carbone, a longshoreman who works on the docks under Brooklyn Bridge. Eddie lives with his wife Beatrice and 17-year old niece, Catherine, whom they have cared for since she was a child. But Catherine is no longer a child, and her natural desire to pursue her own life will tragically rupture the lives of this family and the close-knit immigrant community of Red Hook.
As we record this episode a new production of A View from the Bridge is touring the UK, and I’m delighted to talk with its director, Holly Race Roughan, about this powerful play.