Broadway Review: Sally Field in ‘The Glass Menagerie’

The Glass Menagerie review Sally Field
Julieta Cervantes

Of all the plays in the American canon, “The Glass Menagerie” seems a most unlikely candidate for deconstruction. But that doesn’t deter director Sam Gold (“Fun Home,” “Othello”) from laying hands on this Tennessee Williams gem and subjecting it to a severe reinterpretation — thereby hugely challenging the efforts of a very keen Sally Field.

The production design immediately telegraphs Gold’s reductive approach to the playwright’s 1944 masterwork.  Andrew Lieberman’s austere set is exposed to the paint-blackened bricks of the theater walls and dressed with a simple kitchen table set and a props cart. Adam Silverman’s pinpoint lighting adds to the severity of the design.

Related

Hailee Steinfeld Sally Field Actors on Actors

Actors on Actors: Sally Field and Hailee Steinfeld (Full Video)

Like the stage setting, Williams’s play has been stripped to the gut, shorn of its lyrical accoutrements and reduced to its raw text. But a strategy that might illuminate other dramas disregards the fact that these embellishments — the harmonies of the language, the melodic accents, the music of nostalgia — are intrinsic to the writer’s plays, and especially to an intimate “memory play” like this one. Understated in the muted performances, the poetry is not quite lost, but diluted.

Joe Mantello, a Tony Award-winning director (for “Assassins” and “Take Me Out”) as well as an actor (“The Normal Heart,” “Angels in America”), is more mature than Tom Wingfield is typically played. The directorial choice to age the character not only distances Tom further in time from his mother Amanda (Sally Field) and sister Laura (Madison Ferris), but it also minimizes his sense of guilt.

Tom’s memories are not kind in this production. For one thing, the Wingfields’ modest apartment in St. Louis becomes positively threadbare in his recollection.  Their financial “embarrassment” is portrayed as near-poverty. And when Amanda relives her social triumphs as a Southern belle, her son envisions her in an atrocious ball gown (designed in Pepto-Bismol pink by Wojciech Dziedzic) that robs her of her faded beauty and mocks her own fond memories of her past.

Field’s generous heart goes out to Amanda, warmly supportive of the character’s romantic fantasies while capturing her desperation at the loss of it all. There are times when she seems to be living in two realities at once, playing the lady of quality while clutching a chenille bathrobe and shrieking like a fishwife in her frustration with her life.

Tom inhabits the real world as we know it, but his wavering thoughts seem to modify that world to support his own self-serving memories. His memory of his sister Laura exaggerates what is usually depicted as her slight limp, turning it into a more severe disability that keeps her in a wheelchair. Casting Madison Ferris, who really does use a wheelchair, validates Laura’s vulnerability, but makes Tom look like a selfish jerk for deserting her.

Amplifying the extent of Laura’s disability leads to one unexpected gift to the production. In her scene with the gentleman caller (played with grave kindness by Finn Wittrock) Laura must awkwardly navigate her own way out of her wheelchair. Sitting on floor cushions and bathed in candlelight, Ferris and Wittrock bring an unearthly beauty to a scene that speaks the language of Williams’ poetry, and illuminates the soul of his heartbreaking play.

WATCH: How Acting Helped Sally Field Overcome Depression and Changed Her Life

Broadway Review: Sally Field in 'The Glass Menagerie'

Belasco Theater; 993 seats; $225 top. Opened March 9, 2017. Reviewed March 3. Running time: TWO HOURS, 5 MIN.

Production

A production by Scott Rudin, Eli Bush, Lincoln Center Theater, Len Blavatnik, Barbara Whitman, The John Gore Organization, Universal Stage Productions, Ruth Hendel, Peter May, Eric Falkenstein, Wendy Federman, Seth A. Goldstein, Anita Waxman, Al Nocciolino, JFL Theatricals, Meredith Lindsey Schade, Benjamin Lowy & Adrian Salpeter, John Mara, Jr., & Benjamin Simpson, Joey Parnes, Sue Wagner, and John Johnson, of a play in one act by Tennessee Williams.

Creative

Directed by Sam Gold. Set, Andrew Lieberman, costumes, Wojciech Dziedzic, lighting, Adam Silverman, sound, Bray Poor, production stage manager, Martha Donaldson.

Cast

Sally Field, Joe Mantello, Madison Ferris, Finn Wittrock.

Filed Under:

Want to read more articles like this one? SUBSCRIBE TO VARIETY TODAY.
Post A Comment 1

Leave a Reply

1 Comment

Comments are moderated. They may be edited for clarity and reprinting in whole or in part in Variety publications.

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

  1. Tom says:

    If you have Tennessee Williams and you have Sally Field you should have a set.

More Legit News from Variety

Loading