Theatre South Carolina’s second production of the season is The Glass Menagerie, Tennessee Williams’ beloved autobiographical play, now staged in the round at Longstreet Theater. Under the direction of Jerry Winters, a third-year MFA directing candidate, the play offers a pleasant but rather distant view of a bygone era, almost as if seen through scrim.
The Wingfield family, while pathetic, seems not quite real, like the small glass animals on the coffee table, but their fragility diminishes the conflicts involved, which ultimately result in the boy leaving home. The pacing is very slow, especially in the first act, making it difficult to get involved with the characters.
Sarah Barker is a kinder, gentler Amanda than the woman of steel usually envisioned, and she plays the role with considerable charm and grace. Brian Schilb has the difficult role of Tom, who is both protagonist and narrator. Kay Allmand is the painfully shy and frightened Laura. She is almost a nonentity in the first act, but she comes into her own in the second act.
When Steven Fenley, the Gentleman Caller, arrives in Act Two, the action picks up considerably. He manages to create a larger than life presence and brings much-needed animation to the entire production. As he brings Laura out of her shell, he also brings in reality, which, of course, is the function of his character.
Technically, the production is excellent, and set designer Steven Gross and lighting designer Gary Peoples deserve special mention. The period set is especially interesting, and Laura’s glass menagerie is displayed on the table, instead of in a cabinet.
The faded southern belle and decaying lifestyle are all there. But this past seems very distant indeed. This play is an old friend to most theatergoers and is the closest thing to “family entertainment” that Williams created. Anyone who has not seen the play should rush to do so.
The Glass Menagerie is at Longstreet Theater through November 1. Call 7-2551 for reservations.
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