‘The Glass Menagerie’

Press, 23 November 1983, Page 8

‘The Glass Menagerie’

“The Glass Menagerie,” by Tennessee Williams, directed by Bryan Aitken for the Court Studio Theatre. November 22 to December 17. Running time: 8 p.m. to 10.15 p.m. Reviewed by Gerrit Bahlman. A sensitive, fragile and lovely wraith dominates the stage of "The Glass Menagerie.” Among the prattle and constant subtle belittling, the delicate potential of Laura is squashed by circumstance. A play which is riddled with attitudes and expectations that rarely appear today — nevertheless generated intense empathy. The play is set immediately before World War H, indicated by a convincing newspaper property declaring Franco’s triumph. The action takes place in a dilapidated apartment and concerns; an abandoned family reliant on the income of the only son to survive. The mother, Amanda, dwells between the memories of her popular youth and the dread realities of impoverishment. Laura is the crippled pathetic daughter who has always been the wallflower. .'j Tom, the son, spends his

.days working in a warehouse and his nights at the “movies.” The only other character to appear is Jim, the only “gentleman caller” for Laura in six years. The tragedy is self-evident, but it is not applied with a trowel. In fact, initially the platitudinous patronisation of Elizabeth Moody’s Amanda is so gross that the S appeared in danger of ipsing into parody. Tom, played by Peter Elliott, is the butt of continuous maternal care — he cannot take a bite of his meal without persistent comment and “constructive” criticism. His mother drives him to drink. Her incessant “rise and shine” extracts the retort, “I’ll rise but I won’t shine” after a particularly effective night at the “movies.” Elizabeth Moody’s dominance of the stage becomes a constant source of annoyance. The audience is driven to sympathy with her children. The strength of her portrayal gives the character the depth of embarrassment when Amanda's Southern hospitality is over--done. • : 'ffit Allison Quigan’s portrayal Waptured the pathetic Laura

with a staggered gait and vocal insecurity. Her fragile performance with moments of certainty, hope, and joy was a delight to behold. Peter Elliott gave the play a warm, lazy opening — one could feel the heat of the night and imagine the squalor. His performance of Tom was secure and polished. The strains of guilt running through Tom were tangible. Craig Hood’s role as Jim was small but introduced a note of sanity and reality into the scene. Overconfident, the success at college, the real world was beginning to break down the arrogance and Laura was a chance, perhaps the last chance, to capture the high school glamour. Craig Hood captured all these elements and with Alison Quigan provided moments of subtle poignancy. Music was an important facet of the production. The “swing” sound pervaded the stage from the dance hall across the alley and touches of Scott Joplin played with strings caught the change in mood. “The Glass Menagerie” is a sensitive production, fit-clear and unconfusedW