THE GLASS MENAGERIE: ACTING EDITION
BY TENNESSEE WILLIAMS
THE GLASS MENAGERIE: ACTING EDITION BY TENNESSEE
WILLIAMS PDF
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THE GLASS MENAGERIE: ACTING EDITION BY TENNESSEE
WILLIAMS PDF
The Glass Menagerie[1] is a four-character memory play by Tennessee Williams. Williams worked on various drafts of the play prior to writing a version of it as a screenplay for MGM, to whom Williams was contracted. Initial ideas stemmed from one of his short stories, and the screenplay originally went under the name of 'The Gentleman Caller' (Williams envisioned Ethel Barrymore and Judy Garland for the roles that eventually became Amanda and Laura Wingfield although Louis B. Mayer insisted on casting Greer Garson as Laura). The play premiered in Chicago in 1944. It was championed by Chicago critics Ashton Stevens and Claudia Cassidy whose enthusiasm helped build audiences so the producers could move the play to Broadway where it won the New York Drama Critics Circle Award in 1945. Laurette Taylor originated the role of the all-too-loving mother, Amanda Wingfield. In the 2004 documentary Broadway: The Golden Age, by the Legends Who Were There, Broadway veterans nearly unanimously rank Taylor's performance as the most memorable of their entire lives. The Glass Menagerie was Williams's first successful play; he went on to become one of America's most highly regarded playwrights. The play was reworked from one of Williams's short stories "Portrait of a Girl in Glass" (1943; published 1948).[2] The story is also written from the point of view of narrator Tom Wingfield, and many of his soliloquies from The Glass Menagerie seem lifted straight from this original. Certain elements have clearly been omitted from the play, including the reasoning for Laura's fascination with Jim's freckles (linked to a book that she loved and often reread, Freckles by Gene Stratton-Porter). Generally the story contains the same plot as the play, with certain sections given more emphasis, and character details edited (for example, in the story, Jim nicknames Tom "Slim", instead of "Shakespeare"[2]).
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9 of 11 people found the following review helpful. The Glass Menagerie
By Heather
even though things may have been better in the past, not to live in it, but rather to live in the present, because we may be missing something even better than what we had that is right in front of us, waiting for us to notice it, but we're so enthralled in the what has happened in the past we don't see it. Basically what "The Glass Menagerie" is trying to tell us is that we need to live in the future and if we don't, then we will miss out on all the un-lived life that lies right in front of us, waiting for us to discover it.
2 of 2 people found the following review helpful. A Timeless Play
By Bill R. Moore
The Glass Menagerie brought Tennessee Williams long-awaited and well-deserved success. It remains an enduring classic more than half a century later -- not only on the stage, but also on the page. Williams, one of the most literary of playwrights, created a classic play that is also great literature. His love of the literary is made clear primarily via stage directions, which are sometimes quite lengthy -- whereas many playwrights, including Shakespeare, have barely any -- and also quite poetic. Like his later play Cat On A Hot Tin Roof, The Glass Menagerie is a family drama. The title is apt; the characters live -- as no doubt many of us do -- in a virtual glass menagerie, stretching out their pathetic lives from day to day. This "memory play" is a window into their world. No one is happy; indeed, they are so engrossed in their pathologies that they seem to forget they are a family -- that others have thoughts and dreams and hopes and visions of their own. They seem, at times, nearly oblivious to reality, as another reviewer quite rightly put it. Many of the scenes are, no doubt, familiar to anyone who has had to live with others. Many can surely relate to the Wingfields' existence, sad and pathetic as it is. Everyone who reads the play probably sees a little of him or herself in each character; individual scenes may stir long-forgotten or repressed memories. This is Williams' wake-up call; he is telling us, as Neil Young later sang, to "open up those tired eyes": see the world, embrace reality, and, above all, LIVE. Don't let your unicorn's horn break.
2 of 2 people found the following review helpful. His best
By A Customer
This was the first play I ever saw in my life and it made a deep impression on me. There are so many things to relate to in this tale of deception, control, dysfunction, co-dependency, and family life, that even if you don't live in St. Louis, have a crippled sister, or a nagging mother (who doesn't?) you'll find yourself in one of the characters.
This is the brilliance of Williams. Like other writers out there (think Styron in his "Sophie's Choice," McCrae in "Bark of the Dogwood," or Arthur Miller in everything he ever wrote),Williams manages to give us several examples of "everyman" without reducing them to stereotypes and clichés.
The sheer power of "Menagerie" is overwhelming. Like his "Night of the Iguana" or his "Cat," he is marvelous at letting us inside his character's heads.
In recent years Tennessee William's plays have seen something of a decline, both in production and sales. Nothing like the forties, fifties, or even seventies when he was still very much in demand. But this will change as each new generation discovers this master theatre builder.
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