With a definitive Amanda in a benchmark revival of The Glass Menagerie by Tennessee Williams, Cherry Jones is likely to be nominated for her third Tony Award. We were utterly enthralled by this powerful and poignant production and superb cast which transferred from American Repertory Theater, in Cambridge, MA, to Broadway’s Booth Theater.
The self absorbed and manipulative Amanda, a delusional woman of a certain age, pressures her son Tom (Zachary Quinto) to bring home a Gentleman Caller (Brian J. Smith) arguably to romance and wed her handicapped daughter Laura, played with perfection by Celia Keenan-Bolger.
It’s a difficult play requiring delicate balance not to tip into the enervating and maudlin. Here, John Tiffany’s masterful direction builds the drama. By the end of the play, when hopes and dreams have crashed on stage like Icarus with melted wings, the audience is stunned and shattered.
Laura’s vulnerability is captivating as Keenan-Bolger drags her bent body about the stage in an entirely credible manner. We wince at the callous manipulations of Amanda, an over-the-hill Southern bell, determined to marry Laura off to provide financial security.
The small glass figurines Laura collects, particularly the unicorn, are a riveting metaphor for her fragile psyche. Through an accident, the Caller turns the unicorn into a horse. It signifies her whimsical fantasies dashed by crushing reality. He has been blindsided into an evening with his colleague’s family. With great restraint, Jim starts to comprehend the setup and deals with Laura with remarkable tact.
