Tennessee Williams’ The Glass Menagerie, is given an experimental re-telling, using the rarely seen projections as originally written into the script. A homeless man living on the streets of St. Louis, post-WWII, navigates through the gritty back alleys of his imagination to the events that led to his ultimate demise. LA-based Jeff Award winning ensemble member Hans Fleischmann returns to Mary-Arrchie for this re-imagining of Tennessee Williams’ classic memory play. Chicago musician Daniel Knox composes an original score. Daniel has performed with David Lynch, Jarvis Cocker, and at Robert Wilson’s Watermill Center with Rufus Wainwright.
The Glass Menagerie By Tennessee Williams
Directed by Hans Fleischmann
Projection Design by Anna Henson
Lighting Design by Matt Gawryk
Original Score by Daniel Knox
Mary-Arrchie Theatre Co.
“If the best-of-the-year lists were not already signed, sealed and delivered, I’d be ripping them into shreds. Fleischmann’s production…is not to be missed.” Chris Jones, Chicago Tribune (4 STARS!) “
”You’ve probably never experienced Tennessee Williams’s ubiquitous drama like this.” Oliver Sava, TimeOut Chicago
The production uses the famous projections (here part of a video landscape designed by Anna Henson) that is deeply textured, and framed around Tom’s apparent obsession with going to the movies. On a sheet on a rear wall, Tom unspools a kind of picture show of the mind, both revealing and running away from the live action that takes place in front. It is an exquisite piece of design…” Chris Jones, Chicago Tribune
Where the concept and stylized touches absolutely flourish, however, is in the design. Fleischmann has wisely included a feature that Williams originally wrote (and much later published), but nixed during the play’s original productions in Chicago and on Broadway in favor of the innate power of acting: projections. Brechtian titles like “The Opening of a Door! ” with the distinctive mood of a silent film, images of Laura’s high school nickname—Blue Roses, the wide-smiling portrait of the Wingfield patriarch among other visuals jump onto an upstage screen. The imagery is stunning. Williams was among the few playwrights of his time suggesting projections, and Anna Henson’s design forms a marvelous symbiosis with the downstage action…” Johnny Oleksinski, New City Stage