‘MENAGERIE’ STILL ENCHANTS AT A NOISE WITHIN

REVIEW: THE GLASS MENAGERIE

BY RYAN M. LUÉVANO

For Tennessee Williams, his 1944 autobiographical play, The Glass Menagerie changed his life forever. Upon its premiere in Chicago, then its transfer to Broadway, William’s went on to become one of America’s most beloved playwrights. The motto “write what you know” comes to mind when discussing Menagerie—there are glimpses of the writer and his family all over the play, especially in the character Tom. It’s a play that is a look at the strength, and simultaneous fragility that exist in any family unit, thus its themes still resonate even today. This classic play is brought to life by director Geoff Elliott and the rest of the players at A Noise Within Theatre company in a poignant revival that eloquently takes us back to simpler times to reacquaint audiences with this American classic. 

The play is labeled by Williams as a ‘memory play’ and is narrated through the eyes of Tom Wingfield. As a memory play Williams sought to explore unconventional techniques and use heightened expressionism to paint a picture that is constantly transforming. Director Geoff Elliot applies this concept to this production is a way that is cinematic in its execution. The most effective ways are through the use of music and lighting. 

The music and sound design created by Robert Oriol is mainly used to set the time period, create dreamy moods and assist with transitions. However, the moments that are most successful are when the music is used to underscore the emotions of a character, namely Laura Wingfield—it’s in these few moments we sense the familiar magic of cinematic scoring. The lighting also serves to orient us to important moments and emotions, it the closest thing to a close-up you can have on stage and it’s beautifully done.

There is also a projector screen used throughout the play and upon it is often a picture of the absent Mr. Wingfield, but also imagery and sayings relevant to the play. What’s interesting is that in the later versions of the play, including the Broadway version, Williams decided to omit the use of the screen. Here the use of the screen is best when pictures are placed upon it, as whenever there is text to read it became too easy to slip out of the drama at hand. 

Nevertheless, the most famous scene is this play is one of the most captivating scenes you will see and experience on stage, both because of the delicate writing and the sublime execution at A Noise Within. When the power goes out in the Wingfield home Laura and Jim O’Connor are left alone to chat, dance and admire Laura’s glass animal collection. Here the world stops and is transported to this magical time when people sit around in candlelight talking while their shadows are free to dance around the room—dreamy and exquisite.

Now twenty-years later Deborah Strang returns to ANW in the role of Amanda Winfield, the doting and somewhat delusional mother—the role fits her like a glove. From Strang’s first entrance she fully embodies this strong, charismatic mother and we never get the sense that she is acting cartoonish, but rather we understand the tenderness behind her words and actions. Tom Wingfield played by Rafael Goldstein, is a powerful presence on stage. Goldstein character keeps most of his emotions buried deep inside yet somehow audiences are able to discern what is going on within—the young man feels trapped and we’re right there with him, and when he makes his move to be free, we understand. 

Laura Wingfield played by Erika Soto is mesmerizing. Soto’s character is often characterized by the other characters, with lines that are often brief throughout, yet in her character is crystal clear, her fragile mannerisms and focused actions tell us everything we need to know garnering the sincerest sympathy. Kasey Mahaffy as Jim O’Connor is a breath of fresh air—his effervesce makes for a nice reprieve from the drama of the Wingfield household. Mahaffy has no problem charming the audience making for a scene that provides a shred of optimism for the Wingfield family, if only for a moment.   

Now is the perfect time to reacquaint, or introduce yourself to Tennessee Williams’ The Glass Menagerie, this production by A Noise Within is chock full of high production values and exquisite performances that bring out the honest, and tender themes that are at the heart of this enchanting American masterpiece.                   

Ticket and Price Information 

Feb. 24 – April 26, 2019 

Buy Online: www.anoisewithin.org Buy Via Phone: 626-356-3121 

Purchase at Box Office: 3352 E. Foothill Blvd., Pasadena, CA 91107 

Regular Prices: Single tickets from $25, Student Rush with ID an hour before performance $20. 

Sunday Rush: March 10 and April 14 at 7 p.m. – all tickets remaining are $25, available online after 12 a.m. day of performance with the code SUNDAYRUSH or at the box office, cash or credit, after 2 p.m. day of performance. 

Groups (10 or more): Adults from $25 to $50 a ticket, up to 35% off; Students from $18/tickets. Call 626-356-3121 for more information and ask for Subscriber Services Manager Deborah Strang.