Three Plays (22 page)
Authors: Tennessee Williams
The Glass Menagerie
By Tennessee Williams, 1944
CONTENTS
THE CHARACTERS
AMANDA WINGFIELD
[
the mother
]: A little woman of great but confused vitality clinging frantically to another time and place. Her chara
cterization must be carefully created, not copied from type. She is not paranoiac, but her life is paranoia. There is much to admire in Amanda, and as much to love and pity as there is to laugh at. Certainly she has endurance and a kind of heroism, and though her foolishness makes her unwittingly cruel at times, there is tenderness in her slight person.
LAURA
WINGFIELD
[her daughter]:
Amanda, having failed to establish contact with reality, continues to live vitally in her illusions, but Laura's situation is even graver. A childhood illness has left her crippled, one leg slightly shorter than the other, and held in a brace. This defect need not be more than suggested on the stage. Stemming from this, Laura's separation increases till she is like a piece of her own glass collection, too exquisitely fragile to move from the shelf.
TOM
WINGFIELD
[her son, and the narrator of the play]:
A poet with a job in a warehouse. His nature is not remorseless, but to escape from a trap he has to act without pity.
JIM
O
’
CONNOR
[the gentleman caller]:
A nice, ordinary,
young man.
PRODUCTION NOTES
Being a ‘memory play’, The Glass Menagerie can be presented with unusual freedom from convention. Because of its considerably delica
te or tenuous material, atmospheric touches and subtleties of direction play a particularly important part. Expressionism and all other unconventional techniques in drama have only one valid aim, and that is a closer approach to truth. When a play employs unconventional techniques, it is not, or certainly shouldn't be, trying to escape its responsibility of dealing with reality, or interpreting experience, but is actually or should be attempting to find a closer approach, a more penetrating and vivid expression of things as they are. The straight realistic play with its genuine frigidaire and authentic icecubes, its characters that speak exactly as its audience speaks, corresponds to the academic landscape and has the same virtue of a photographic likeness. Everyone should know nowadays the unimportance of the photographic in art: that truth, life, or reality is an organic thing which the poetic imagination can represent or suggest, in essence, only through transformation, through changing into other forms than those which were merely present in appearance.
These remarks are not meant as a preface only to this particular play. They have to do with a conception of a new, plastic theatre which must take the place of the exhausted theatre of realistic conventions if the theatre is to resume vitality as a part of our culture.
THE MUSIC
Another extra-literary accent in this play is provided by the use of music. A single recurring time, 'The Glass Menagerie', is used to give emotional emphasis to suitable passages. This time is like circus music, not when you are on the grounds or in the immediate vicinity of the parade, but when you are at some distance and very likely thinking of something else. It seems under those circumstances to continue almost interminably and it weaves in and out of your preoccupied consciousness; then it is the lightest, most delicate music in the world and perhaps the saddest. It expresses the surface vivacity of life with the underlying strain of immutable and inexpressible sorrow. When you look at a piece of delicately spun glass you think of two things: how beautiful it is and how easily it can be broken. Both of those ideas should be woven into the recurring tune, which dips in and out of the play as if it were carried on a wind that changes. It serves as a thread of connection and allusion between the narrator with his separate point in time and space and the subject of his story. Between each episode it returns as reference to the emotion, nostalgia, which is the first condition of the play. It is primarily Laura’s music and therefore comes out most clearly when the play focuses upon her and the lovely fragility of glass which is her image.
THE
LIGHTING
The lighting in the play is not realistic. In keeping with the atmosphere of memory, the stage is dim. Shafts of light are focused on selected areas or actors, sometimes in contradistinction to what is the apparent centre. For instance, in the quarrel scene between
Tom and
Amanda in which Laura has no active part, the clearest pool of light is on her figure. This is also true of the supper scene, when her silent figure on the sofa should remain the visual centre. The light upon
Laura should be distinct from the others, having a peculiar pristine clarity such as light used in early religious portraits of female saints or madonnas. A certain correspondence to light in religious paintings, such as El Greco's, where the figures are radiant in atmosphere that is relatively dusky, could be effectively used throughout the play. [It will also permit a more effective use of the screen.] A free, imaginative use of light can be of enormous value in giving a mobile, plastic quality to plays of a more or less static nature.
-
T.W.
This play was first presented in London at the Theatre Royal, Haymarket, on 28 July 1948 with the following cast:
AMANDA WINGFIELD – Helen Hayes
LAURA, her daughter – Frances Heflin
TOM, her son – Phil Brown
THE GENTLEMAN CALLER – Hugh McDermott
The play directed by John Gerlgud.
Setting by Jo Mielziner. Original music composed by Paul Bowles.
Dance music arranged by Leslie Bridgewater
Scene:
An alley in St Louis
PART 1: Preparation for a Gentleman Caller
PART 2: The Gentleman Calls
Time:
Now and the Past
SCENE ONE
The Wingfield apartment is in the rear of the building, one of those vast hive-like conglomerations of cellular living-units that flower as warty growths in overcrowded urban centres of lower-middle-class population and are symptomatic of the impulse of this largest and fundamentally enslaved section of American society to avoid fluidity and differentiation and to exist and function as one interfused mass of automatism.
The apartment faces an alley and is entered by a fire-escape, a structure whose name is a touch of accidental poetic truth, for all of these huge buildings are always burning with the slow and implacable fires of human desperation. The fire-escape is included in the set - that is, the landing of it and steps descending from it.
The scene is memory and is therefore non-realistic. Memory takes a lot of poetic licence. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart. The interior is therefore rather dim and poetic.
[At the rise of the curtain, the audience is faced with the dark, grim rear wall of the Wingfield tenement. This building, which runs parallel to the footlights, is flanked on both sides by dark, narrow alleys which run into murky canyons of tangled clothes-lines, garbage cans, and the sinister lattice-work of neighbouring fire-escapes. It is up and down these alleys that exterior entrances and exits are made, during the play. At the end of Tom's opening commentary, the dark tenement wall slowly reveals (by means of a transparency) the interior of the ground floor Wingfield apartment.
Downstage is the living-room, which also serves as a sleeping-room for Laura, the sofa is unfolding to make her bed. Upstage, centre, and divided by a wide arch or second proscenium with transparent faded portières (or second curtain), is the dining-room. In an old fashioned what-not in the living-room are seen scores of transparent glass animals. A blown-up photograph of the father hangs on the wall of the living-room, facing the audience, to the left of the archway. It is the face of a very handsome young man in a doughboy's First World War cap. He is gallantly smiling, ineluctably smiling, as if to say 'I will be smiling forever'.
The audience hears and sees the opening scene in the dining-room through both the transparent fourth wall of the building and the transparent gauze portières of the dining-room arch. It is during this revealing scene that the fourth wall slowly ascends out of sight. This transparent exterior wall is not brought down again until the very end of the play, during Tom' s final speech.
The narrator is an undisguised convention of the play. He takes whatever licence with dramatic convention is convenient to his purposes.
Tom enters dressed as a merchant sailor from alley, stage left, and strolls across the front of the stage to the fire-escape. There he stops and lights a cigarette. He addresses the audience.]
TOM
: Yes, I have tricks in my pocket, I have things up my sleeve. But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion.
To begin with, I turn bark time. I reverse it to that quaint period, the thirties, when the huge middle class of America was matriculating in a school for the blind. Their eyes had failed them or they had failed their eyes, and so they were having their fingers pressed forcibly down on the fiery Braille alphabet of a dissolving economy.
In Spain there was revolution. Here there was only shouting and confusion.
In Spain there was Guernica. Here there were disturbances of labour, sometimes pretty violent, in otherwise peaceful cities such as Chicago, Cleveland, Saint Louis....
This is the social background of the play.
[MUSIC]
The play is memory.
Being a memory play, it is dimly lighted, it is sentimental, it is not realistic.
In memory everything seems to happen to music. That explains the fiddle in the wings.
I am the narrator of the play, and also a character in it. The other characters are my mother Amanda, my sister Laura and a gentleman caller who appears in the final scenes.
He is the most realistic character in the play, being an emissary from a world of reality that we were somehow set apart from. But since I have a poet's weakness for symbols, I am using this character also as a symbol; he is the long-delayed but always expected something that we live for. There is a fifth character in the play who doesn't appear except in this larger-than-life-size photograph over the mantel.
This is our father who left us a long time ago. He was a telephone man who fell in love with long distances; he gave up his job with the telephone company and skipped the light fantastic out of town....The last we heard of him was a picture postcard from Mazatlan, on the Pacific coast of Mexico, containing a message of two words—
'Hello—Good-bye!' and no address.
I think the rest of the play will explain itself...
[Amanda's voice becomes audible through the portieres.
Tom divides the portières and enters the upstage area.
Amanda and Laura are seated at a drop-leaf table. Eating is indicated by gestures without food or utensils. Amanda faces the audience. Tom and Laura are seated in profile.
The interior has lit up softly and through the scrim we see Amanda and Laura seated at the table in the upstage area.]
AMANDA
[calling]
Tom?
TOM:
Yes, Mother.
