THEATER
Booth Theater
The Glass Menagerie - Tennessee Williams
Below is a review from the New York Theater Guide.
"There are productions by which you can mark a moment in your life – the way
you would treasure and recall an encounter with a loved one. This production
will be that for anyone lucky enough to see it.
Although some will single out Cherry Jones as Amanda, I will not. So
beautifully crafted is this production that there are no seams between any of
the elements. The writing becomes three-dimensional. The actors disappear into
the story. The visual elements entwine – the actors’ choreographed movements,
the extraordinary set, lights, costumes and even music. This is one enormous
chunk of life that will not be separated into parts.
As well, I believe, Mr. Tiffany understands that the center of this piece is
Laura (Celia Keenan-Bolger). Not Tom (Zachary Quinto) or Amanda. Laura is the
one around whom every character orbits. Her choice to stay locked in her life
seems as though it is out of her control, but she holds her own against all
comers, including her mother and her brother. On the other hand, when life hands
her an offer of love, she makes a place for it on her dance card. Hers is an
extraordinary spirit, and I have never seen it more apparent than in this
production.
That this is so is a result of THE scene. You know the one. Where Laura
spends time alone with Jim O’Connor, The Gentleman Caller (Brian J. Smith) who
opens a doorway to a new life and then leaves her at the threshold hoping she
will step through without him. It is a scene so intimate, tender and deep that
the audience is lifted out of the theatre directly into Tennessee Williams Land.
It is breathtaking.
Flanking both sides of this scene are extraordinary exchanges. Cherry Jones,
although off to a confusing start with her opening reminiscences thrives in the
long stretch. She is a big woman in voice and gesture who makes it clear that
this Amanda is living a small life. Amanda bumps up against the ceilings and
walls like Alice in Wonderland and appears surprised each time the facts loom up
to greet her. The past as she knew it does not die – and her son is an acorn
that falls not far from this tree – it is her own custom designed Gentleman
Caller. Jones drifts in and out of this courtship with heartbreaking simplicity.
A breaking heart needs no embroidery, and Jones lays hers on her sleeve for us
to see and feel.
Zachary Quinto as Tom takes himself very seriously in his monologues but
lightens up considerably in his scenes with Jones to the point where the two
mine humor in their scenes that I have never seen before. They vacillate between
rage and camaraderie because they are so close it pains them both.
These scenes
are gorgeous. As the Gentleman Caller, Smith arrives toting a Missouri accent
strong enough to dance on, but he lets go of it soon enough so that THE scene
becomes a pas de deux of extraordinary depth. The fact that high school has been
the highlight of O’Connor’s life nips at his heels. His path is set and the
future will be worth the effort, even if it means that he may settle for a love
that is on the conventional side. Crossing paths with Laura throws him and his
tender soul off kilter, and in righting his trajectory he breaks more than one
heart in that theatre.
Which brings us to Keenan-Bolger. Hers is a Laura that is like a still pond
covered with tiny sparking lights. This Laura is not a victim, even if she
thinks she is. Her spirit keeps chugging like the heartbeat of a hawk. She may
look as if she is idly riding an airstream, but this woman is forever watching
for movement of any sort. This Laura puts the world on notice. She is watching.
She is quiet, she is still, and she is here.
This is why Laura is the one thing that Tom cannot leave behind. He may be
his mother’s twin, but it is the heartbeat of his sister that is the music to
which he dances.
Get to this brilliant, brilliant production. Just do it."
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