Mr. Wingfield, absent father and now a framed photograph hanging on the wall, was once "a telephone operator who fell in love with long distances". He left behind a "defected" daughter, a son — the artist and misunderstood outsider, and a wife — entrenched in memories and ramblings of the past. A gentleman caller raises the question of hope and love. This is a play about about family and home.
“How beautiful it is and how
easily it can be broken."
— Tennessee Williams
“Nobody sees anybody truly but all through the flaws of their own egos. That is the way we all see ...each other in life. Vanity, fear, desire, competition – all such distortions within our own egos – condition our vision of those in relation to us. Add to those distortions to our own egos the corresponding distortions in the egos of others, and you see how cloudy the glass must become through which we look at each other. That's how it is in all living relationships except when there is that rare case of two people who love intensely enough to burn through all those layers of opacity and see each other's naked hearts.” — Tennessee Williams
Along with Eugene O'Neill and Arthur Miller,
Tennessee Williams is considered among the three
foremost playwrights in 20th-century American drama.
Director Mel Tuck's Notes
The greatest playwrights come forward when society is changing. Chekov and the revolution. Shakespeare and the Renaissance. Homer, Euripides and Aristophanes in Greece and the city states. Williams and the end of the antibellum period and WW2. The beginning of post-war future. We are in this similar kind of transition now. The world is changing hugely. The "Dinosaurs" are like Amanda holding desperately on to the past and with that holding on some people will be sacrificed. Like Laura is. Like Syrians and natives in Africa. Amanda is a terrifying person, but she's funny. So are dinosaurs.
Today, the electronic world is changing into the digital world. There is revolution and evolution going on as a result, and the whole nuclear family concept is in great flux. Individualism versus collectivism is an ongoing debate and a paramount theme in the breakdown of the family unit.
It is significant to take something like THE GLASS MENAGERIE, and mount it at this particular time because it is a great metaphor for change and reflective of all things topical. It looks both backward and forward in time, outward and inward. It depicts heroes and victims that we can all relate to. As John Lahr states, “it also broadcasts William’s dramatic goal – to redeem life, through beauty, from the humiliation of grief.”
— Director Mel Tuck
"Director Mel Austin-Tuck deserves a lot of credit for this praiseworthy production. The handling of the sensitive candlelit scene between the gentleman caller and the fragile Laura was strangely moving, allowing Michael Germant and Gina Leon the opportunity to expand their character’s nuances.
Gina Leon’s performance as the shrinking violet Laura is an almost perfect counterpoint to Lynne Griffin’s excessive role of her character’s mother. Her vulnerability and detachment is unmistakable as we witness her disappearing into her own private world playing with her collection of crystal animal figurines that gives the work its title. [...]"
— John Jane, Vancouver Presents
There are a very few great plays in the history of theatre that bear repeated viewing and seem fresh every time you see them. The Glass Menagerie is one. It’s not even Tennessee Williams’ best play—that honour goes to Streetcar—but it remains poignant, poetic and powerful. This nicely understated production directed by Mel Austin-Tuck lets you hear all its grace notes. [...]
— Jerry Wasserman, Vancouver Plays
"One of the best theatrical productions I've seen in the last few years." — Olga Livshin, The Jewish Independent
Hope Amid Dysfunction
Tennessee Williams is one of the giants of the American theatre. His 1944 four-actor play The Glass Menagerie, which catapulted him to fame, is about to open in Vancouver, produced by local theatrical troupe Island Productions. [...]
6 SEP 2016
THE GLASS MENAGERIE
20:00PM PAL STUDIO THEATRE, 581 Cardero Street Vancouver
Tickets can be purchased at the door 1 hour prior to Show Time.
ABOUT THE PLAY
"Menagerie reveals the story of family members whose lives form a triangle of quiet desperation, each struggling with an individual version of hell while simultaneously seeking escape from the gravity of each other’s pathologies.” – Robert Bray
Produced by Gina Leon and Michael Germant
Stage Manager Jenny Kim
Costume & Set Design Diana Capstick-Dale
Set Construction David McLeod
Lighting Design Nathan Hoffman
Music & Sound Design David Cieri
A Very Special Thanks to everyone that donated to the production & made this possible!
Showtimes / Tickets
Tues, Sept 6 2016, 8:00 pm — Preview
Wed, Sept 7 2016, 8:00 pm — Opening Night
Thu, Sept 8 2016, 8:00 pm
Fri, Sept 9 2016, 8:00 pm
Sat, Sept 10 2016, 8:00 pm
Sun, Sept 11 2016, 3:00 pm — Matinee
Tues, Sept 13 2016, 8:00 pm
Wed, Sept 14 2016, 8:00 pm
Thu, Sept 15 2016, 8:00 pm
Fri, Sept 16 2016, 8:00 pm
Sat, Sept 17 2016, 8:00 pm
Sun, Sept 18 2016, 3:00 pm — Matinee
Tues, Sept 20 2016, 8:00 pm
Wed, Sept 21 2016, 8:00 pm
Thu, Sept 22 2016, 8:00 pm
Fri, Sept 23 2016, 8:00 pm
Sat, Sept 24 2016, 8:00 pm
Sun, Sept 25 2016, 3:00 pm — Matinee, Closing Night