April 14–20, 2017

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Essentials-Only Take on ‘Glass Menagerie’ Proves Haunting, PoignantJUDD HOLLANDER

NEW YORK—All too often, people find them-selves trapped in a situation far smaller than the scope of their dreams, a situation they are desperate to alter, both for themselves and for others. The most recent Broadway revival of Tennessee Williams’s “The Glass Menagerie”—its seventh—shines a brilliant light on this situ-ation, at the Belasco Theater.

The story takes place in a St. Louis apartment in the 1930s. It is home to Tom Wingfield (Joe Mantello), a wannabe writer who works in a shoe warehouse; his domineering mother, Amanda (Sally Field), a former Southern belle who, to hear her tell it, once had dozens of ea-ger suitors; and his sister, Laura (Madison Fer-ris), a young woman afflicted both by a physi-cal condition and a crippling shyness. The latter condition exacerbates Laura’s already overpowering self-consciousness to such a degree that she prefers her collection of little glass animals to human interaction.

Amanda, who is nothing if not a realist, des-perately fears for her daughter’s future. Her speech to Laura about what happens to those who don’t find security, either through mar-riage or a career, and are thus left to the fates of an unforgiving society, is quite powerful. The words reflect Amanda’s own fears of growing old alone.

Tom already has one foot out the door, as he’s afflicted with his absent father’s love of wan-dering and wants to escape from a mother he can never seem to please. Tom and Amanda’s relationship turned combative years ago. Their only common ground is Laura and their need to find someone who can care for her after they are gone.

The potential solution to their problem is Jim O’Connor (Finn Wittrock), Tom’s friend at the warehouse. He’s invited over for dinner in the hopes that he and Laura will hit it off.

Jim, as it turns out, is another person trying to better his situation. While he initially ac-cepts the dinner invitation on a lark, he soon begins to bond with Laura. As he encourages her to come out of her shell, we learn more about his plans for the future.

“The Glass Menagerie” is a play about mem-ory and how it can hold you in its grip, seem-ingly forever. Memory is the term used both by the author and Tom, who also serves as the show’s narrator. He looks back on the events of the play from some point in the future, while

A Topic Worth BroachingDIANA BARTH

NEW YORK—Mickele Hogan’s “Mourning the Living,” now at the Dorothy Strelsin The-atre, deals with a crucial issue that has seldom been dealt with in a drama: Alzheimer’s dis-ease, which affects over 5 million people who suffer from it and over 15 million who care for them.

In the play, Kay (Jennifer Rau), a high school teacher, has embarked on a romance with the school principal, Jerry (Chris Bolan). The relationship, which has been progressing smoothly, hits a snag when Jerry discovers that Kay appears to have an odd roommate —a man.

Kay admits that the man is her husband, David (Craig D’Amico), although she insists that he has been her husband in name only for some time. David has Alzheimer’s and doesn’t even know who she is. However, an element of uncertainty has now intruded into her rela-tionship with Jerry.

David is really too much of a handful for Kay to care for by herself; he often has illogical fits of rage and must be persuaded to take care of even his most basic human needs.

But Kay has been fortunate in enlisting the aid of a neighbor, Marie (Mary Leggio), who

has recently suffered a severe personal loss and is only too happy to give her time to care for David, enabling her to take her mind off her own problems.

Before Jerry entered the picture, things had been going smoothly, when the two men meet, hitherto squelched feelings arise in Da-vid’s consciousness. David realizes that Kay is someone he had been very close to, and at a dinner party, he erupts violently, accusing Jerry: “You’ve taken something from me! Give it back!”

With the conflict out in the open, a love tri-angle emerges, possibly creating an insoluble situation.

According to Marie, Kay should honor her marriage vows: to care for and cherish her husband “in sickness and in health.” Now Jer-ry, finally reaching the end of his tether about being the odd man out, so to speak, must make a decision.

To complicate matters, David occasionally begins to show moments of lucidity and even affection, alternating with the withdrawal symptoms of the disease. Kay is thrown into turmoil. Where does her deepest loyalty lie?

She refuses to put David into a home for Al-zheimer’s patients; she could not do that to her beloved husband. At the same time, how can

she fulfill her own needs for companionship, affection, and emotional support?

The fictional Kay’s experiences are undoubt-edly based in truth. The Alzheimer’s problem is one that has not been addressed sufficient-ly in this country. For close to 15 years, there have been no new approved treatments for the disease.

In addition to the play’s engrossing content, the performances are very good, particularly in the case of Jennifer Rau, who is onstage for the entire 80 minutes. I have one caveat, how-ever: I was puzzled by her consistently matter-of-fact delivery, particularly in the early vis-à-vis with Jerry, when she had the opportunity to take a more intimate tone. I would assume, however, that this was director Alan Souza’s choice.

Some lightness is brought with a scene in-cluding a student of Kay’s, Catherine (Caroline Aimetti), who inadvertently pays a visit to Kay, having gone a bit astray during a class party.

The small venue, a typical black-box with a stage the size of a large living room, was an ideal choice for this play. The audience is tight-ly placed on three sides of the stage, making for an appropriate sense of intimacy.

There are no set pieces aside from a rect-angular table with four chairs, placed on a

figured rug. Souza has opted for no props; all physical action that would ordinarily require props is mimed, drawing one’s attention solely to the words and actors.

The stark but appropriate lighting is by Pat-rick Bakalli; costumes are by Kelly Le Vine.

“Mourning the Living” is a valuable addi-tion to what are often referred to as “problem plays,” dealing with important societal issues.

Diana Barth writes for various arts publica-tions, including New Millennium. She may be contacted at diabarth99@gmail.com

ALL PHOTOS BY JULIETA CERVANTES

Joe Mantello and Sally Field in the play that brought attention to Tennessee Williams, “The Glass Menagerie.”

(Left) The

gentleman caller,

Jim (Finn Wittrock), and Laura (Madison Ferris) in a tender

moment.

(Right) Central to the

play is the antagonism

between Tom (Joe

Mantello) and his mother,

Amanda (Sally Field),

who are both trapped

by bleak prospects.

Theater Review

Theater Review

also taking part in them as they play out.Mantello, at age 54, is an interesting choice

for Tom, a role usually played by much young-er actors. Yet his age adds an extra layer of poignancy as it slowly becomes apparent that, even after so much time has passed, he’s is still haunted by these events.

Interestingly, actor Eddie Dowling, who played Tom in the original Broadway produc-tion, was 55 years old at the time.

Also inspiring is the casting of a physically disabled actress in the role of Laura. Ferris performs a good part of the show in a wheel-chair. However, as the play progresses, it be-comes clear the only thing keeping Laura from moving forward is her terrible shyness, which proves far more disabling than any physical condition.

Director Sam Gold gives the show an even fresher interpretation thanks to his brilliant directorial choices. He strips away most of the trappings that are usually associated with the work. Gone are such things as an apartment filled with objects close to 20 years old and an atmosphere of faded charm.

Instead, we are treated to a bare table, harsh

lighting (at least in the beginning) and props the cast takes from a row of shelves located stage left, when needed. The very able compa-ny allows the words of the text, alternatively harsh and lyrical, to come through full force—and the result is nothing short of electrifying.

This is especially true with Field’s perfor-mance. She takes a role that has been played by so many accomplished actresses and makes it totally her own. Her only prop is an old, faded dress. The character has kept it for years, and it reveals the anguish and emptiness she feels in her life as she clings to a vision of the person she used to be and a lifestyle she used to enjoy.

Also quite effective is Adam Silverman’s lighting design. It goes from harsh to muted to a wonderful candlelight moment, that makes one think something magical may happen.

Poignant and haunting, this production of “The Glass Menagerie” boils the play down to its bare essentials and shows exactly why the work has more than stood the test of time.

Judd Hollander is a reviewer for Stagebuzz.com and a member of the Drama Desk and the Outer Critics Circle.

‘The Glass Menagerie’ is a play about memory and how it can hold you in its grip.

‘The Glass Menagerie’Belasco Theatre 111 W. 44th St.

Tickets 212-239-6200 or Telecharge.com

Running Time 2 hours, 5 minutes, (no intermission)

Closes July 2

‘Mourning the Living’Dorothy Strelsin Theatre at the Abingdon Theatre Co. 312 W. 36th St.

Tickets 866-811-4111 or bit.ly/MourningLiving

Running Time 1 hour, 20 minutes (no intermission)

Closes April 22