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. He was educated at the University of Glasgow (M.A. in Theatre and Classics). John was founding Associate Director at the National Theatre of Scotland from 2005–2012 and a Radcliffe Fellow at Harvard University from 2010–2011.
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.
The dramatic tragedy of a wife who murders her own two sons in a desperate act of grief and revenge remains as disturbing and deeply moving as when it was written nearly 2,500 years ago. Medea by Euripides is timeless not only because of our fascination with Medea’s horrific crime, but for the poetry of its language, and its unflinching portrayal of a woman all but powerless in a patriarchal world. The play was recently revived at the National Theatre with a stunning performance by Helen McCrory in the title role, which is now available to view on the National Theatre at Home. I’m joined by renowned classical scholar Edith Hall to explore our enduring fascination with Medea.
The main characters in Nina Raine’s play Consent are barristers contesting a brutal rape case. As the case unfolds the lawyers’ marriages come unravelled and they themselves cross the line of honour or even of the law. Consent explores some of the most charged issues of our time: the sources of sexual betrayal and violence, the ambiguities of consent, and the failings of the justice system to account proportionally or sensitively with cases of sexual abuse. I am delighted and honoured to be joined in this episode by the author of Consent, Nina Raine, and by actor Adam James, who appeared in the National Theatre production in the role of Jake.
Footnotes Volume 2 is a selection of facts and observations culled from the library of information that we’ve compiled to accompany each of the plays in the past ten episodes. These include fascinating bits of trivia as well as more extended exploration of specific aspects of the plays. A smorgasbord of dramatic intelligence befitting of the best kind of Footnote.
Before the theatres went dark this month I was lucky enough to see Caryl Churchill’s A Number at the Bridge, and spend more than seven hours in thrall to Robert Lepage’s Seven Streams of the River Ota at the National. Plus, some thoughts on what we miss when there is no theatre.
Another great mix of shows this month, from Tom Stoppard’s new play, to Ibsen, Beckett and newer plays in smaller London venues.
The January roundup included both classic plays, such as The Duchess of Malfi, Uncle Vanya and Three Sisters, as well as recent musicals Dear Evan Hansen and Girl from the North Country …