Running since February 2017 Two-time Academy Award winner Sally Field stars in a revival of Tennessee Williams' memory play that revolves around a young man begrudgingly supporting the family his father has abandoned.
The Broadway production of The Glass Menagerie closed May 21, 2017. For current Broadway show listings and tickets, please click here.
From the producers: "The Glass Menagerie" is the play that brought a brilliant young writer named Tennessee Williams to national attention when it premiered on Broadway in 1945. More than seventy years later, Williams’ most personal work for the stage continues to captivate and overwhelm audiences around the world.
"The Glass Menagerie" premiered in 1944 and catapulted author Tennessee Williams from obscurity to fame. The play has strong autobiographical elements, featuring characters based on Williams himself, his histrionic mother, and his mentally fragile sister Rose. The play premiered in Chicago in 1944, followed by a transfer to Broadway where it won the New York Drama Critics Circle Award in 1945. Two Hollywood film versions were produced in 1950 and 1987.
Sally Field previously played the role of Southern matriarch Amanda Wingfield in 2004 for the Kennedy Center. She made her Broadway debut in the replacement cast of "The Goat, or Who Is Sylvia?" and won Academy Awards for her performances in "Norma Rae" and "Places in the Heart." In this production, she shares the stage with Joe Mantello, Finn Wittrock and Madison Ferris.
What's Lincoln Center Theater? One of the largest and most prominent non-profit theaters in the city, LCT has three state-of-the-art venues at Lincoln Center, and occasionally produces shows in the theater district proper. On rare occasions the fare is controversial, but as a matter of course, it's the best-regarded theatrical producing organization in the city. The company's LTC3 initiative is devoted to producing the work of new artists and building new audiences. More here.
In a bold experiment that's often riveting but seldom wholly satisfying, director Gold rips away illusion like a bandage off a wound. Despite some fine work from the actors, you end up being moved more by the sheer resilience of the writing than by the intrusive presentation. The result is one of the most hauntingly lyrical dramas in the American canon transformed into a blunt dysfunctional family play in which indelible melancholy gets trampled by anger and bitterness.
Asking an audience to use its imagination is a good thing, but sometimes there's a gap too far. Ultimately, in this production, the woes of the Wingfield family take second place to the experience of watching the bravery and determination of a young actress, and perhaps to ponder the wider difficulty people with disabilities have in being cast - even to play people with disabilities.
With the assistance of a top-notch cast and crew, director Gold applies an innovative yet back-to-basics take, and the result is a stunning, emotionally rending production. Gold takes risks with his nontraditional staging choices, and though his vision might not be for everyone, there's no arguing that it's a bold, creative one...[a] rare revival that breathes new life into a classic rather than defaulting to convention.
New York Daily News
Williams masterwork has never emerged smaller, flatter or less poignant...it makes for a disjointed "Glass" that is empty of emotion and impact. Intimacy gets lost when actors seem to be in different plays. Field fares best and holds her own in a low-key, mostly drawl-free performance.
New York Magazine
Gold's production is nakedly, bracingly theatrical. This new perspective, along with many unconventional choices, creates a tension that, on the good side, wonderfully opens the play up to view. Being forced out of its familiar ruts makes the play tell different stories. This "Menagerie" restores what must have been the shock of the original while also reframing our ideas about Williams as an imperfect person and a pitiless autobiographer.
New York Times
[Director] Gold and his cast, led by an intrepid Sally Field, have dismantled a venerable classic, but darned if they can figure out how to put it back together again...this production is less a thought-through interpretation than a sustained scene-study class. When a plot turn plunges the theater into abject darkness late in the play, it only gives literal life to what you've been feeling all along.
[A] bizarre conceptual take that, despite some strong performances, may be best left forgotten...part of the problem is that [the] directorial decisions are so radical in some cases they take the audience out of the play's poetic reverie. Individually, Field, Mantello and Wittrock do excellent work, but stylistically the cast doesn't mesh all that well. This production never got beyond the experimental stage, and should have been left in the rehearsal room.
Time Out New York
[A] starkly compelling, bravely executed revival...As for the acting, it's all over the map - perhaps to suggest family members trapped in different worlds. For all this production's cerebral choices and cold, distancing design, the emotional impact is there: love, disgust, betrayal, shame and the longing for understanding.