March Madness came to the Ritz Theatre Company in the form of The Glass Menagerie. The show premiered on Broadway March 31, 1945. Its playwright, Tennessee Williams, was born in March 26, 1911. As alcohol played a role in the story, this run began just in time for St. Patrick’s Day. I attended the March 16th performance.
Director Matthew Weil is a boon for serious theatre fans. Mr. Weil has brought such legendary works as The Fantastiks, To Kill a Mockingbird, and Brighton Beach Memoirs to South Jersey stages. I relished the opportunity to experience his interpretation of an American classic: The Glass Menagerie at the Ritz. The director met the high expectations established by his reputation.
The Glass Menagerie told the story of a troubled family. The shy Laura Wingfield (played by Sara Viniar) lived a sheltered life. Aside from family, a Victrola and collection of glass animals comprised her only companions. Her brother Tom (played by Taylor Darden) aspired to become a writer. His warehouse job bored him. He longed to escape and pursue a life of adventure. Their mother Amanda Wingfield (Lori Howard) struggled to keep the family together. Circumstances made this quite a challenge.
In the wake of their father’s abandonment, the family appeared on the verge of disintegration. As Laura was either unwilling to or unable to support herself, Amanda understood that her daughter would need a husband to take care of her. Recognizing Tom’s need for “adventure” (and a fondness for alcohol) she worried that he’d leave the family the same way his father had. She made a deal with him. If Tom could find a suitor for Laura, Amanda would allow him to leave.
This premise reminded me a bit of Samuel Beckett’s Waiting for Godot. The characters expected an unknown stranger to enter their lives and fix everything. That’s not the best approach to addressing one’s problems. It does provide for some outstanding drama on the stage, however.
An editor of the Tennessee Williams Annual Review, Robert Bray, called The Glass Menagerie a “memory play.” He may not have been describing the story. I’m thinking he referred to the actors’ need to recall all of Williams’ “lyrical language.”
To test this theory I tried an experiment. I opened a copy of (the New Directions Paperbook Ninth Printing) The Glass Menagerie to a page at random. Looking at pages 50 and 51, three quarters of the text is stage direction. One line is Amanda’s. The rest is a page-and-a-quarter soliloquy that Tom delivers.
One always expects outstanding performances from a Matthew Weil directed show. Based on the previous quality of their work, one always expects that from the actors he selected. They all delivered wonderful interpretations of Mr. Williams’ tragedy.
Taylor Darden selected an excellent accent for the role of Tom. Mr. Darden delivered his lines in a slow Southern drawl. Depending upon the situation, at times that drawl morphed into a slur. The performer’s lanky gait made his character even more unique.
Sara Viniar turned in a heartbreaking interpretation of Laura. Her face displayed a sad look for which one couldn’t help but feel sympathy. The performer’s limping about the stage brought out even more pity for the character. All these traits made the character’s struggle to overcome her shyness much more powerful.
Lori Howard no doubt drew upon her real life experience as a mom in her role as Amanda Wingfield. Ms. Howard played the role so credibly that I felt like part of the Wingfield family. When she criticized Tom for his poor posture I sat up straight. During her final scene with Mr. O’Connor, she instructed his character to leave. Her tone of voice and angry facial expressions made me uneasy. That’s an excellent connection with an audience member.
Jared Calhoun played Jim O’Connor: the gentleman caller. Mr. Calhoun selected an excellent voice. It reflected his character’s proficiency at public speaking. He played well opposite Ms. Viniar when trying to coax Laura out of her shyness. Their chemistry together gave this poignant moment much more impact.
This run marked Melissa Harnois’ first endeavor as a Stage Manager. Ms. Harnois coordinated all the facets of this intricate production wonderfully; and the show contained a lot of components to synchronize.
In The Glass Menagerie the lighting became an integral part of the drama. It almost became a character in itself. Jen Donsky designed this critical feature very well. Technical Director Connor Profitt executed it without flaw.
Those with any interest in either classic American theatre or a family drama would enjoy The Glass Menagerie. Don’t follow Tom’s example by going to the movies. This run closes on March 31st. In the playbill Director Matthew Weil discussed the play’s themes of “decisions” and “regret.” South Jersey community theatre fans will regret making a bad decision of their own by not attending the show at the Ritz.