★★★★

“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.

HAMNET at the Garrick Theatre

★★★

“The story is gripping, and the performances are strong”

It is a hard task to adapt an incredibly popular and deeply literary novel for the stage, especially one which spans decades, cities and narrative voices. This adaptation doesn’t quite carry the romantic and ethereal genius of its source text, but it is brave enough to carve its own path through the story. It rushes along as a love letter to the emotional power of theatre.

Agnes is the peculiar orphaned daughter of a sheep farmer, who falls for the quick tongued Latin tutor, known better as William Shakespeare. The first half follows their romance and their struggles with their respective families, particularly William’s cruel and violent father. The second half jumps a decade, and surrounds the personal heartbreak which inspires, so this play supposes, one of the greatest tragedies ever written.

Lolita Chakrabarti’s adaptation is direct, emotionally honest and blunt. Sometimes this is an asset, allowing the emotional truths to be laid bare, but sometimes it lacks subtlety. The high-octane emotions, especially at the beginning, do feel a bit distancing at times, and it would have been interesting to explore a more layered complexity, especially in the couple’s relationships with their parental figures. The time jump in the middle, which brings the twins to the forefront and allows the piece a greater emotional depth, also stunts the development of the romantic centre. In some ways this does work, as by shifting the focus from the romance, the script is able to build its own identity, separately from the novel. Some of the strongest moments come with William’s players, and their plans for a new playhouse. Converting the stage into The Globe for the final scene is magical, and the joy and power of theatre is beautifully explored here.

Erica Whyman’s direction gives Hamnet significant momentum, hurtling along with a terrible, inevitable dread. There are some really beautiful moments to be found, but often they come in the pauses, when the play lets itself breathe. Some of this energy comes from the choice to cover each scene transition with a jaunty tune (Oğuz Kaplangi). This is also interspersed with sinister breathing and whispering, by sound designer Simon Baker. However, because many of the scenes are short and sharp it does stilt some of them, and prevents us from sitting with what we have seen.

It is a large cast, which serves to flesh out the rich world of the play. Madeleine Mantock’s Agnes is fiery and bold, contrasting and complementing Tom Varey’s William who is more pent up. For me the standouts, were Ajani Cabey and Alex Jarrett as the tragically fated twins. Cabey’s performance was beautiful, showing both incredible grace and joyous mischief. Jarrett was also excellent, bringing a tragic complexity to a grieving child, and one of her speeches was, for me, the emotional punch of the whole performance. Special mentions must also go to Gabriel Akuwudike’s Bartholomew whose excellent comic timing was a joy and Sarah Belcher who as Joan had a real grasp of her emotional levels, and brought a huge amount to what might’ve been a one note character.

Tom Piper’s set is ingenious, quirky and fun. Two levels framed by wooden ladders allow the cast to scamper up and down and all around, making use of every inch of the space. Using wood gives it an earthy feel, connected to Agnes’ natural healing. Prema Mehta’s lighting design brings harmony to this playful and warm set.

As an avid fan of the novel, I wanted to love this play. While I respect its ability to make the story its own, for me the emotional build felt rushed, and didn’t pay off. The story is gripping, and the performances are strong. But there is a bit of magic missing, which is what made the novel unique, and without which, the play is left feeling a little hollow.

Tag Archives: Tom Varey

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”

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

Hamnet

★★★

Garrick Theatre

HAMNET at the Garrick Theatre

★★★

“The story is gripping, and the performances are strong”