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THE GLASS MENAGERIE

★★★★

The Yard Theatre

THE GLASS MENAGERIE

The Yard Theatre

★★★★

“a gorgeous revival that succeeds in bringing a fresh perspective on a classic play”

Tennessee Williams’ The Glass Menagerie is an iconic play that will always divide critical opinion. Many claim it to be Williams’ best work so it can be hard to adapt such a piece whose text is already so beloved. Yet Jay Miller is fearless in his contemporary approach to theatre making and this play is no different.

The Glass Menagerie follows the narration of Tom Wingfield (Tom Varey) as he recalls the last few weeks of his time living with his Mother, Amanda (Sharon Small), and sister, Laura (Eva Morgan). During this time Amanda is on a tiresome search to find Laura a husband, given her lack of other prospects due to dropping out of business school. Luckily, Tom brings home his colleague Jim (Jad Sayegh) for dinner. However all is not what it seems with Jim, and what proceeds may break Laura’s heart.

The play opens with Tom’s introductory monologue and makes use of the distinctions of setting in the text with the actual staging. There’s music in the background, an image of the moon looms over the stage and the entire room is hazy like a distant memory. It’s an excellent introduction to Tom as a narrator, which continues perfectly throughout. Throughout Act One there are scene changes that reflect Tom jumping through memories, for example when Amanda is on the phone selling magazines to various people. Here the set (Cécile Trémolières) and lighting (Sarah Readman) work perfectly together to create different spaces of the otherwise very intimate space to create these time jumps. Tom is often both in the action as it happens and commenting on it. It is clear throughout that even though we may watch him in the scenes, he is still very much on the outside – reflecting how much Tom feels like an outlier from the very family and social path he has been given in life.

The performances in this show are spectacular throughout. Sharon Small portrays the matriarchal Amanda with a commanding yet sympathetic spirit which allows the audience to identify with her good intentions. Tom Varey is incredibly succinct and whole in his characterisation of Tom and I often thought he must have been having a lot of fun while playing such a rollercoaster of a character. Eva Morgan triumphs in the timid, shy sensibilities of Laura but still relishes in her youthful joy and curiosity for her interests. It’s a beautiful portrayal in what can be a highly misunderstood and challenging role. And Jad Sayegh finds the perfect comedic beats throughout his small time in the action. Sayegh is used throughout Act One as a symbol, often stalking in the background. Tom describes him in the text as “the long-delayed but always expected something that we live for”. Sayegh stares at the action, waiting for the perfect moment to join, wearing a bright yellow spot suit-like attire (a unique choice from Lambdog1066).

There were moments where the technical choices were a bit imposing such as the use of strobe lighting and flashes throughout which were a little disorientating, but luckily they were used for less than ten seconds each time.

Overall, The Glass Menagerie at The Yard Theatre is a gorgeous revival that succeeds in bringing a fresh perspective on a classic play, finding the perfect balance between fast paced time jumps and wonderful dialogue that is given the space to breathe. A fantastic show to end on before The Yard closes ahead of reopening next year in its new purpose built home. I cannot wait to see what they bring to the new space if this is anything to go by.



THE GLASS MENAGERIE

The Yard Theatre

Reviewed on 11th March 2025

by Rachel Isobel Heritage

Photography by Manuel Harlan

 

 

 

 

Previously reviewed at this venue:

MY MOTHER’S FUNERAL | ★★★★★ | January 2025
PERKY NATIVITITTIES | ★★★★ | December 2024
THE FLEA | ★★★★★ | October 2024
THE FLEA | ★★★★ | October 2023

 

 

THE GLASS MENAGERIE

THE GLASS MENAGERIE

THE GLASS MENAGERIE

🎭 A TOP SHOW IN OCTOBER 2024 🎭

THE FLEA

★★★★★

Yard Theatre

THE FLEA at the Yard Theatre

★★★★★

“bold, innovative, interesting and risk-taking theatre”

James Fritz’ ‘The Flea’ is a pleasurably innovative, hilarious and touching piece of theatre. It explores themes of systemic homophobia, the marginalisation of the working classes and the issues of criminalisation of sex workers, all within the context of Victorian Britain. And even with such heavy themes, it still managers to be utterly hysterical throughout.

The play follows Emily and her son Charlie. They’re a poor family and Charlie notices his Mum going without food, so he starts bringing home extra cash to give to her. She’s suspicious about where it comes from though, but she stops asking questions after he tells her it’s his post office ‘bonus’. Unfortunately, the police were suspicious too, and we discover Charlie is involved in a high end brothel scheme. The investigation into the establishment is what we follow in the play.

The show is immediately gripping in its presentation of the narrative – using various forms of movement, multi-media and multi-roling to tell this story. Jay Miller’s direction as a result is never unexciting and I can honestly say I was gripped throughout the whole piece. There was not one moment where the energy dropped. The space was also used incredibly well in this sense. The stage (designed by Naomi Kuyck-Cohen) was divided into three separate platforms with a runway along the middle. Each platform created distinctive settings: A police station, Emily’s house, an aristocrat’s living room and various others. The majority of which was also filled with comically small furniture.

Lambdog1066 is responsible for the incredible costume design; Victorian-esque designs  mixed with punk aesthetic choices such leather jackets, patchwork pieces and various decorative zips. A special commendation also has to go to the cast at this point for many swift changes of outfit.

All the actors are extremely committed throughout the play. Breffni Holahan leads the show with an attention to emotional detail ranging from joy to anguish that is truly remarkable. Aaron Gill also shone in several roles, but I particularly enjoyed him as the police constable which provided a lot of the subtle, tongue in cheek comedy.

Fritz’ writing is simply brewing with heart and great care for all of his characters. Many of which have their flaws yet there wasn’t one person who I couldn’t understand or sympathise with. And I think that’s how you succeed in taking risks in theatre; you approach every step with care and you don’t cut corners on the details. This is the kind of bold, innovative, interesting and risk-taking theatre that the industry has been crying out for, for a long time. Definitely worth a watch.


THE FLEA at the Yard Theatre

Reviewed on 22nd October 2024

by Rachel Isobel Heritage

Photography by Marc Brenner

 

 

 

 

 

Previously reviewed at this venue:

THE FLEA | ★★★★ | October 2023

THE FLEA

THE FLEA

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