Tag Archives: Sarah Readman

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 Dead Body in Taos

A Dead Body in Taos

★★★

Wilton’s Music Hall

A DEAD BODY IN TAOS at the Wilton’s Music Hall

★★★

A Dead Body in Taos

“Rachel Bagshaw’s direction moves the action backwards and forwards with an efficient pace and energy, but we do occasionally get bogged down in explanation”

 

“When they called saying your body had been found, I had one immediate thought. I remember thinking that maybe now I’d be free”. These are the first words that Sam (Gemma Lawrence) speaks to her mother Kath (Eve Ponsonby) in over three years. Sam has just arrived in the small town of Taos in the New Mexico desert to identify the body. The freedom to which Sam is referring is obviously emotional rather than physical as there seems to have been little communication between mother and daughter up to this point. Nevertheless, Sam would still be seeking some sort of closure, and conversations with the deceased are often consoling.

Not so for Sam. She’s not talking to a corpse, but a mechanical representation of her mother aged thirty-five, into which her mother’s memories, emotions and biographical data have been uploaded. But sadly, not a lot of her personality. Artificial Intelligence has been taken to its technological, moral and unsettling extreme and we are invited to question the nature of death and human consciousness. But before we have much of a chance, we are whisked back to Kath’s student days where there is much talk about the 1968 protests, Vietnam, Cambodia and changing the world. In writer David Farr’s world, it is peopled with caricatures whose urgency and fervour seem to be being lampooned. The link to the present is a touch tenuous, but on the stage the two settings are constantly rubbing shoulders with each other in the revolving doors of a confusing narrative. We are not really sure where to invest our interest.

The dichotomy suits Sam though. Gemma Lawrence is a very watchable presence, particularly when she begins to thaw and engage with her mother’s posthumous identity. Initially outraged, she warms to the idea and we, in turn, warm to the general theme of the piece. Farr explores the flip side of Artificial Intelligence. The Future Life Corporation, where Kath is recreated, focuses on the ‘unintelligence’. The flaws that make us human. It’s not just about synthesising data, but also the false hopes, the self-delusion; the layers of deception inherent in us all. The mess and the chaos. And the unspoken love.

It is a very wordy, and at times worthy, play. Rachel Bagshaw’s direction moves the action backwards and forwards with an efficient pace and energy, but we do occasionally get bogged down in explanation. The use of surtitles is questionable and sometimes distracting and unnecessary. The performances cannot be faulted. Eve Ponsonby’s Kath seamlessly flits from her ardent past to the robotic present, and Clara Onyemere’s portrayal of Tristana Cortez – the humanely pragmatic supervisor at the Future Life Corporation – is one of the highlights of the evening.

The crux of the issues remains unanswered – as they probably always will be. “How do you create a person who has no idea who they are?” asks Cortez. “A Dead Body in Taos”, despite containing some insightful dialogue, doesn’t quite know what it is either. Like some of the scenes there are too many voices vying to be heard. We long to have our focus tied to a stronger lead. Perhaps that is the reason behind the surtitles after all.

 

Reviewed on 27th October 2022

by Jonathan Evans

Photography by Helen Murray

 

Wilton's Music Hall thespyinthestalls

 

Previously reviewed at this venue:

 

Roots | ★★★★★ | October 2021
The Child in the Snow | ★★★ | December 2021
The Ballad of Maria Marten | ★★★½ | February 2022
Starcrossed | ★★★★ | June 2022
Patience | ★★★★ | August 2022

 

 

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