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. 

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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.



Lynn Griffin as AMANDA

  Gina Leon as LAURA

Andrew Coghlan as TOM

Michael Germant as JIM



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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 JaneVancouver Presents     

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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


 Tickets $20

Tuesdays Half-Price