A very different ‘Glass Menagerie’ at Trinity Rep

Don Fowler
Posted 3/12/15

Tennessee Williams’ magical memory play is not a stranger to Rhode Island or to theatre lovers.

The tale of the Wingfield family – mother Amanda, son Jim and daughter Laura – has been …

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A very different ‘Glass Menagerie’ at Trinity Rep

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Tennessee Williams’ magical memory play is not a stranger to Rhode Island or to theatre lovers.

The tale of the Wingfield family – mother Amanda, son Jim and daughter Laura – has been produced by many theatre companies over the years, including twice by Trinity. But never like this!

Director Brian Mertes, in collaboration with set designer Eugene Lee and musician Phillip Roebuck, has created an ethereal, challenging, provocative production that will have some enthralled and others scratching their heads.

On the surface, the story is pretty simple. Mother is trying to find a suitor for her shy, “crippled” daughter. Son brings home a co-worker, with disastrous results.

Within that basic story are many parallels to Williams’ family history. There are also many insights into life, family, loneliness and self-worth. Lee has created a bare, square stage, a bed on wires, a plastic backdrop, unusual stage props and a piano that doubles as a fire escape. He has people standing on chairs and tables to deliver their lines, leaving it to the audience to determine why. I’m still not sure.

Brian McEleney plays Tom, who narrates the story. Older and stranger than usually portrayed, Tom spends every night at the movies. Or does he?

Laura is played by Mia Ellis, Trinity’s latest addition to the repertory, and is simply brilliant. Oh, I forgot: he’s African-American. In a Tennessee Williams play, of all things.

Anne Scurria plays a familiar role as a mother, and what a mother she is, attempting to charm Laura’s “gentleman caller,” referring to her crippled daughter as having a “little defect” and standing on furniture to make her many statements.

The first act is filled with surprises, distractions and a very different approach to the characters and the play.

When the gentleman caller (Dennis Kozee) arrives in Act II, things settle down a bit as the moment that defines this classic play takes shape.

The emotional scene between Jim and Laura slowly builds to its sad climax, leaving all the gimmicks behind. We watch breathlessly, most of us knowing what is going to happen, as the suave young man slowly builds the shy, unapproachable woman’s confidence.

It is theatre at its best, in sharp contrast to what precedes it, but an important counterpoint to it.

“Life’s not easy,” Williams is telling us. But it does go on.

“The Glass Menagerie” is a play open to many interpretations. The author allows for a different approach to his work, and Trinity takes advantage of it.

“The Glass Menagerie” is at Trinity Rep through March 29. Call 351-4242 for reservations.

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