“The window is filled with pieces of coloured glass, tiny transparent bottles in delicate colours, like bits of shattered rainbow.”
Continuing the Young Vic’s 40th anniversary season, a new revival of Tennessee Williams’ classic The Glass Menagerie arrives in the main house directed by Joe Hill-Gibbins and featuring an exciting cast. One of his earliest plays and consequently one of his most autobiographical, it is set in 1937 in the city of St Louis, Missouri where the Wingfields live close to the poverty line. Mother Amanda dreams of her girlhood in the Deep South and the husband that left her, son Tom dreams of leaving his full factory job and pursuing his dreams and fragile daughter Laura is happy as she is in her own quiet world but as her mother is determined to secure a better future for the children, she pushes Tom to finding a suitable ‘gentleman caller’ for his sister with devastating effects.
Opening with an introduction to the world of memory plays, for this is what The Glass Menagerie is, narrated by an older version of Tom, the action starts with a gorgeous little coup de theatre revealing the Wingfields’ apartment on the corner stage. As Dario Marianell’s music is played live on stage by Eliza McCarthy on the piano and Simon Allen on a range of instruments including music boxes and a table of water glasses which provide a beautifully evocative soundscape: Allen also provides live sound effects which are neatly done, especially on the staircase and James Farncombe’s evocative lighting shines across the stage, the play is atmospherically set somewhere between memory and reality, helped by the levels built into Jeremy Herbert’s set design. Continue reading “Review: The Glass Menagerie, Young Vic”
“This still feels like a performance of The Two-Character Play”
So much of Tennessee Williams’ work bears the influence of his relationship with his beloved sister but nowhere is he more nakedly autobiographical than in The Two-Character Play, one of his later, rarely performed works from 1967. Featuring a brother and sister who endlessly re-enact a play about a brother and sister called The Two-Character Play; it is a highly introspective piece of work which is considerably more experimental than fans of his work might be used to, but surreally beautiful and recognisable as Williams.
Clare and Felice are abandoned by their theatre company, stuck in an emptying provincial theatre, yet the play must go on as they struggle to get through the performance, it having particular personal resonance to them. Both physically and emotionally in a no-man’s-land, this pair struggle for resolution yet are terribly scared of it: the portrait of confusion, the slow slide into madness, is all the more moving considering that both Williams and his sister ended up in mental institutions. Continue reading “Review: The Two-Character Play, Jermyn Street”
“You understand how the world turns on successfully practised duplicity? On cunning lies?”
I think Phil Willmott and I would be very good friends. Creator of two of my favourite musicals in recent months, joyous works both, and whilst I may not have entirely approved of F**king Men, I can see where he’s coming from as it were. So I was quite upset when Phil went and ruined our friendship by choosing Chekhov as his next project, why Phil why? Still, all is not lost as it is at least Chekhov once removed.
The Notebook of Trigorin is described as a ‘free adaptation’ of Anton Chekhov’s The Seagull by American playwright Tennessee Williams. It’s quite the moment for Williams rarities in London with one of his earlier plays Spring Storm at the National Theatre and this Notebook both being performed for the first time in the capital. It mostly follows the plot of Chekhov’s original, so Masha loves Constantine who loves Nina who loves Trigorin who is also loved by Arkadina. Williams’ conceit is to make Trigorin the focus of the play and with more than a hint of autobiographical detail, makes him a closeted homosexual. So the tangle of relationships, with the destructive mother/son dynamic between Arkadina and Constantine at its core, becomes centred around the self-possessed Trigorin who is in the midst of all the tragedy in the play, yet remains unscathed by it. Continue reading “Review: The Notebook of Trigorin, Finborough”
“I don’t know anything about Strindberg but it don’t sound practical to me”
The other part of the Young America mini-season at the National, Spring Storm is Tennessee Williams’ second play, written whilst still at college and this is apparently the first time the play has been performed in Europe. Set in the Mississippi delta, Southern belle Heavenly has almost everything a young woman could desire, but when she’s forced to decide between dull and respectable suitor Arthur and her handsome, wild lover Dick, her actions cause a chain of consequences that tear their lives apart.
I loved the fact that the central love triangle was cast the same as in Beyond the Horizon. As the impassioned Heavenly, Liz White is superb, throwing herself about with gay abandon in search of the grand amour that will satisfy her beating heart but also aware of the need to secure her position in life to avoid spinsterhood. Her performance here could have been the younger cousin of Rachel Weisz’s Blanche DuBois, one can definitely see how Williams’ incubated that character here. As her suitors, Michael Malarkey does better as the dull and mannered but rich Arthur, playing him with a real note of sadness , carrying much baggage from childhood. As the more masculine, rugged Dick, Michael Thomson brings such a real sexuality and physicality that one can see why Heavenly is reluctant to quit him, but it would have been nice to see more to him than the dumb jock. Continue reading “Review: Spring Storm, National Theatre”
Seeing a deal on lastminute for restricted view tickets for a tenner, I thought I’d squeeze this revival of Tennessee Williams’ Cat on a Hot Tin Roof in for a Saturday matinee, but was almost jeopardised by the seats we were allocated: seats AA1&2 in the Grand Circle don’t actually have a restricted view of the stage, because you are actually facing the audience! The seats are about 120 degrees to the stage so you’re basically facing most of the Grand Circle, a great opportunity to fulfil my Glenn Close in Dangerou Liaisons fantasy, but not the best for playwatching. To see the stage, you need to twist round and then lean quite far forward, which then forces everyone else in the row to lean too. Fortunately, with a house that was only 75% full, we were able to relocate at the end of the first act, but it is truly outrageous that these seats are up for sale at all.
As for the play itself, it is an updated version relocated into the 1980s according to the show literature, although there were curiously few references to this and I don’t think I would have worked it out had I not been informed of it. It’s a tale of a wealthy landowning family who are struggling to conceal the cracks caused by repressed homosexuality, inheritance struggles, alcoholism and the shadow of terminal illness, and I suppose the one benefit of shifting the timing of the play enables the fact that the cast are all black to be not considered an issue. Continue reading “Review: Cat On A Hot Tin Roof, Novello”
Maintaining its recent history of strong female-centred drama, the Donmar’s latest production is A Streetcar Named Desire and the star name this time round is Rachel Weisz, although she is ably supported by some strong upcoming talent. Not being a fan of old films, I had no idea of the story and I think this added considerably to my enjoyment.
It tells the story of Blanche DuBois, a figure with a tragic past, who turns up unannounced at her sister Stella’s apartment in 1940s New Orleans. The apartment is very small but Blanche’s personality is most certainly not, and so the pressures on Stella and her husband Stanley Kowalski build up, as they struggle to wade through Blanche’s smokescreens and ascertain the real reasons for the unexpected visit. Continue reading “Review: A Streetcar Named Desire, Donmar”
The Rose Tattoo, one of Tennessee Williams’ earlier plays, is a life-affirming tale of sexual passion, love, betrayal and dealing with loss. Sadly, the original director Steven Pimlott died earlier this year, meaning Nicholas Hytner had to take up the reins at the National Theatre, working with his friend’s notes and paying tribute to his memory in a most fitting way.
Set in the Sicilian community in New Orleans, the story follows Serafina della Rose, an exotic seamstress who when widowed struggles to balance cherishing his memory with actually living life. She locks herself away and this affects her daughter Rosa from enjoying life too, but when a buffoonish, tattooed truck driver arrives in town, something inside Serafina begins to stir which is good timing for Rosa as a hunky sailor named Jack catches her eye. Continue reading “Review: The Rose Tattoo, National Theatre”