Let it be known that the American Repertory Theater is an absolute force to behold. In the past year, they’ve delivered the glorious circus world of Diane Paulus’s Pippin revival, and it was just announced that their successful world premier political drama, All the Way, will be transferring this fall, starring Bryan Cranston.
Then, there’s The Glass Menagerie.
I’m going to let you in on a little secret. Prior to seeing A.R.T.’s revival, I was unfamiliar with The Glass Menagerie. I knew it was a Tennessee Williams classic. I knew he wrote it when he was younger, and that it contained a semi-autobiographical character. But, I had never read it, and I had never seen it. I went into the Booth Theatre as a completely blank slate. Two and a half hours later, I walked out profoundly moved.
From the very first notes of Nico Muhly‘s hauntingly gorgeous and evocative incidental music, to Zachary Quinto‘s last monologue as Tom, this production can be described as nothing less than a finely crafted piece of art- something that is unfortunately not true for a large amount of Broadway fare these days.
First of all, John Tiffany‘s layered direction and vision for the piece is bold and breathtaking. Every stage picture, with Bob Crowley‘s intriguingly abstract set and Natasha Katz‘s economical and refined lighting design, is stunning. When characters, aided by Stephen Hoggett‘s interpretive movement, fluidly emerge from the set, and from Tom’s memories, you can’t help but be transfixed. The team’s take on the concept of memory is mesmerizing, and when this is coupled with what feels like the most humanly driven storytelling since, well, since Tiffany’s Once, you have an evening that leaves you processing for hours after the curtain drops.
Of course, four brilliant performances play a large role in the evening’s success. Cherry Jones does not disappoint as Amanda. Amanda’s emotions often change on a dime, but you can see Jones’ entire transition in these moments. She conveys as much dialogue with her face as she does with her voice. She’s a living legend. It’s that simple. Zachary Quinto makes for an appealing storyteller in Tom, and you truly empathize with him, even when he makes his biggest mistakes. Fact is, who among us doesn’t have mistakes and memories they regret? Quinto forces us to step in his shoes, and to understand him. And you do. Brian J. Smith is earnest as the Gentleman Caller, and you can see nothing but good intentions in his eyes.
But, for me, Celia Keenan-Bolger is the star of the evening. I’ve always adored Keenan-Bolger’s work, and I loved her in Peter and the Starcatcher. But, you must understand: I am a diehard Cherry Jones fan. I will see anything if Cherry Jones is in it. Anything. So, I expected to be blown away by Jones in this production, and I certainly was. But, this funny thing kept happening. I would notice myself watching Celia Keenan-Bolger when she wasn’t even the focus of the scene. Her performance as Laura felt so real. So poignant. My heart was breaking for Laura, and the extended scene between her and the Gentleman Caller registers as one of my all time favorite moments in a Broadway theater. It was art, and nothing less.
Ironically enough, and I say that with a big, fat, capital “I”, the weakest part of the evening might be the play itself. I’m not going to lie- it’s a bit predictable, and it relies on A+ performances to elevate it to this heavenly state. But, when I say the play is the weakest part, I mean that only by Tennessee Williams standards. This isn’t Streetcar, but it’s still brilliant, and it’s still leagues above many of the plays being written today.
The Glass Menagerie is full of regret. I suggest you avoid some regret of your own, and grab a ticket to this limited run before it’s nothing more than a memory. You will be moved. I promise you that.
Photo via The New York Times