RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
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The mother, the daughter, her lover and their poet
SIMON PARSONS marvels at a production of Williams’s early masterpiece that transforms the play into a symbolic slow dance of tensions, fears and desires
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The Glass Menagerie
Bristol Old Vic
STRIPPED of all the 1930s scenic clutter, most naturalistic productions of Tennessee Williams’s first successful play usually embrace, Atri Banarjee’s dynamically rejuvenated version takes the opening monologue as its lodestone — “a memory play” that is “not realistic” and where “everything happens to music.”
Rosanna Vize’s bare, tilted, dance floor-like stage with central column and illuminated, rotating PARADISE sign above allows movement director, Anthony Missen to turn the play into a symbolic slow dance, emphasising the tensions, fears and desires of the characters locked in their own claustrophobic worlds.
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