The Stage

The Glass Menagerie

Published Wednesday 23 January 2008 at 12:45 by Thom Dibdin

Jemima Levick has directed a production of The Glass Menagerie for the Royal Lyceum which, while providing interest for a 21st century audience, never quite succeeds in revealing its relevance.

The set, however, does reveal a burgeoning talent in its designer, Jessica Brettle. She creates an intense feeling of claustrophobia with a design that comes right forward, encroaching down into the front of the stalls and climbing up into the wings. Yet, with Chris Davey’s intelligent lighting it becomes semi-transparent to create depths that are equal to Williams’ creation of depth in his characterisation.

Joseph Arkley does an excellent job in finding the ambiguities of Tom Wingfield’s character, while ensuring that his role of narrator is clear. Unfortunately, a couple of directorial slips undermine his magician-like control of the play.

Semi-naturalistic cigarettes highlight the damage that the smoking ban has done - their use becomes notable in itself, thus failing to add to the symbolic scheme of the play.

Barbara Marten creates a horrifyingly controlling Amanda Wingfield. It would be enough to drive anyone into their shell, if only she could maintain her accent and the meter of her lines.

Nicola Harrison seems, at first, to be devoid of any character as Laura. Yet with the arrival of Antony Eden, who is excellent as the Gentleman Caller, you realise that the character is all about reflection and refraction of those about her. It is a subtle yet beautifully finessed touch - and enhanced by Philip Pinsky’s sound design - yet the end result creates sympathy for her, rather than what she symbolises.

A production that is not as perspicacious as it at first appears.