THE GLASS MENAGERIE REVIEW BY NATALIE ANGLESEY

 

THE GLASS MENAGERIE at the Royal Exchange Theatre

 Review by Natalie Anglesey

 

‘Write what you know,’ is the advice given to most aspiring writers and fledgling American playwright, Tennessee Williams, certainly knew all too well about claustrophobic family life. His semi-autobiographical play, The Glass Menagerie, written and performed in the early forties, launched his career as a major award-winning playwright. Now this new production of his work returns to the Royal Exchange with a major gear change.

 

Young director, Atri Banarjee, has made a bold attempt to cast new light on what must seem like a period piece to any young director, His production of a fragile family breaking down takes place in the contemporary setting of the Exchange’s famous theatre–in-the-round. Reflective flooring is dominated by a huge, revolving, electrical Paradise sign with steam erupting from vents in the floor. It certainly challenges the actors who sometimes have to walk backwards among tiny glass animals and later daffodils- I applaud them.

 

While I also applaud the bravery of such a new look to a familiar work, along with a musical rendition of One Moment in Time, were it not for wonderful performances from each member of the cast, I may have simply been singing about the set. However, it points up the pivotal mother figure of Amanda’s references to her fading glory days with gentlemen callers and servants at the plantation of her youth. I salute her and the rest of the cast.

 

It’s always been presumed that the character of Tom, brother to young Laura, was based on the playwright himself and Joshua James makes his Exchange debut in this difficult role. Along with his mother’s wearisome accusations and his own weaknesses, he gives a truthful performance of defeated honesty about his own shortcomings and eventual acceptance.  Among this young actor's many theatre credits include work at  the National Theatre and the Donmar Warehouse. His television credits include THE IPCRESS FILE while his films include performances in CYRANO and DARKEST HOUR. One to watch.

 Playing the family matriarch, Amanda Wingfield, is Geraldine Somerville who returns to the Exchange following her previous role there as young Laura in Ian Hastings terrific 1989 production of this classic family drama. I was fortunate to see that production and gave it a rave review. It was Geraldine’s professional acting debut for which she was nominated for Best Actress at the Manchester Evening News awards.  I was particularly interested in seeing how she would tackle this new departure playing the mother. As expected, she gave a performance of great quality.

 

An acclaimed film, television and theatre actor, Geraldine’s many roles include DS Jane Penhaligon (CRACKER) and Lily Potter (HARRY POTTER franchise.) Other film roles include GOSFORD PARK and GRACE OF MONACO. Television roles include PRIME SUSPECT 1973, SILENT WITNESS and QUIRKE. Theatre roles include several at the Royal Court and the National Theatre.  She has an extraordinary quality on stage and even as the domineering mother living in the past and making mistakes, she never puts a foot wrong. Hopefully she will return to the Royal Exchange.

 

Rhiannon Clements plays terminally shy, disabled Laura who seeks solace in her collection of glass animals. She makes a welcome return to the Exchange following her previous role there in WUTHERING HEIGHTS (2019). Recently nominated for Best Newcomer at The National Television Awards and Best Villain at The Soap Awards for playing Summer Ranger in Channel 4’s HOLLYOAKS. Other television roles include DOCTOR WHO and THE OTHER ONE while film credits include DEATH ON THE NILE.  As Laura she gives a beautifully honed performance that tugs at the heart but avoids any sentimentality. She never puts a foot wrong.  Here is another young actor to watch out for.

 

Completing the sterling cast is Eloka Ivo, a Nigerian-British actor, who takes the role of Jim, the gentleman – caller, invited into Tom’s household. He certainly makes a mark with his strong physical presence in a spirited dance of encouragement with young Laura which drew a ripple of applause. His screen credits include Armando Iannucci’s AVENUE 5 for HBO and more recently recently FOUR MOTHERS. Theatre credits include THE GODS ARE NOT TO BLAME (Almeida), THE END OF EDDY (BAM, New York), ONE NIGHT IN MIAMI (Bristol Old Vic/Nottingham Playhouse), THE SON (The Kiln Theatre), and TO KILL A MOCKINGBIRD (Lyric Hammersmith).

 

 

 

I’d previously enjoyed director Atri Banerjee’s productions of Hobson’s Choice at the Exchange and KES at the Bolton Octagon. Since then he’s become Resident Director of the Almeida Theatre and a Trustee of the Regional Theatre Young Directors’ Scheme (RTYDS). Other directing credits include BRITANNICUS (Lyric Hammersmith) HARM (Bush Theatre), ERROR ERROR ERROR (Marlowe Theatre/RSC) and UTOPIA (Royal Exchange).

 

Now Atri returns to the Exchange with this fresh retelling of THE GLASS MENAGERIE. Originally programmed for 2020, it was postponed due to the pandemic and at last this new production brings all four original cast members together. It also reunites the director with designer Rosanna Vize continuing their creative collaborations with BRITANNICUS (Lyric Hammersmith) and HARM (Bush Theatre).

 

THE GLASS MENAGERIE runs at the Royal Exchange until 8 October. This contemporary production may not be to everyone’s taste but the interplay among the characters is well worth a visit. Give yourself a treat.