Exploring the greatest new and classic plays

SUPPORT OUR PODCAST BY BECOMING A PATRON
CLICK HERE

John Tiffany

John Tiffany

John Tiffany

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.

Recommended Play(s)

John recommended Escaped Alone by Caryl Churchill – see episode 30!

 

 

 

021 – The Glass Menagerie, by Tennessee Williams

021 – The Glass Menagerie, by Tennessee Williams

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

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.

Recommended Play

John recommended Escaped Alone by Caryl Churchill – see episode 30!

Photo © Marc Brenner
We have footnotes for this episode …

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.

Patreon Page

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.
Douglas

The Texts
If you are interested in buying the play text or other related books, we’d be delighted if you choose to purchase them by following the links below. We will earn a small commission on every book you purchase, which helps to keep the podcast going. Through our selected partners Bookshop.org and Blackwell’s you will also be supporting independent bookshops. Thank you.
You might also be interested in …
057 – Arms and the Man, by George Bernard Shaw

057 – Arms and the Man, by George Bernard Shaw

G.B. Shaw’s Arms and the Man is both a sparkling romantic comedy and a telling satire of love, war and social pretension. It was Shaw’s first public success as a playwright when it premiered in London in 1894, and is currently enjoying an acclaimed revival at the Orange Tree theatre in Richmond, Surrey.

I’m joined by Shaw expert Ivan Wise, who is a previous editor of The Shavian, the journal of the Shaw Society.

056 – Good, by C.P. Taylor

056 – Good, by C.P. Taylor

C.P. Taylor’s powerful, cautionary play Good charts how an ostensibly ‘good’ person can become not just complicit to evil behaviour, but an active participant. Professor John Halder’s creeping moral compromise as he joins the Nazi elite in 1930’s Germany is a disturbing reminder of the dangers of populist political crusades.

The play is currently being revived at the Harold Pinter theatre in London with David Tennant in the role of John Halder, and I’m delighted to be joined by the production’s director, Dominic Cooke, to explore the contemporary resonances of this provocative play.

055 – Spring Awakening, by Frank Wedekind

055 – Spring Awakening, by Frank Wedekind

Frank Wedekind’s dark, expressionist play Spring Awakening is a cautionary portrait of adolescent angst and rebellion against oppressive social strictures and family pressures. Its frank depiction of sex and violence remains shocking more than 130 years after it was written, and it is the unlikely source of the award-winning modern musical of the same name.

I’m delighted to be joined by Professor Karen Leeder to explore the contemporary controversies and enduring relevance of this extraordinary play.