Wednesday 30 Jul
 
 
Jul 30, 2014
Performing Arts Teen Creative Writing Classes Learn to captivate readers and take them on a journey into the world of your imagination through creative writing.  The class will work together to choose a genre, create a plot, develop cha ...
 
Jul 31, 2014
Performing Arts Shrek The Musical
SHREK THE MUSICAL, based on the Oscar® winning DreamWorks film that started it all, brings the hilarious story of everyone's favorite ogre to dazzling new life on the stage.

...
 
Jul 31, 2014
Performing Arts Children of Eden Musical based on book of Genesis, Act I tells the story of Adam and Eve, Cain and Abel, and Act II deals with Noah and the flood. ...
 
Home · Articles · Performing Arts · Performing Arts · Full 'Glass'
Performing Arts
 

Full 'Glass'


Larry Laneer April 10th, 2013

The Glass Menagerie
7:30 p.m. Wednesday-Thursday, 8 p.m. Friday-Saturday, 2 p.m. Saturday
Lyric at the Plaza
1725 N.W. 16th
lyrictheatreokc.com
524-9312
$10-$40

In Tennessee Williams’ The Glass Menagerie, Amanda Wingfield laments, “Things have a way of turning out so badly.” While that might be true for the Wingfields, things are turning out wonderfully for audiences at Lyric’s excellent production of this classic drama.

Director Michael Baron stages with academic faithfulness to the script, and that’s meant as a high compliment. Menagerie is a “memory play” and cautionary tale, so when Tom Wingfield (Alex J. Enterline) begins his narration wearing a watch cap and peacoat with a duffel bag slung over his shoulder, he’s already the merchant seaman that he aspired to be, with memories he cannot escape by sailing the seven seas.

Dawn Drake’s set and John Fowler’s lighting strike the right balance between the real and surreal. The Wingfields’ worse-for-wear apartment serves as both a prison and a port in a storm. For Tom, it’s a stifling trap, but for his sister, Laura, whose life is adrift, it’s a refuge.

In a nice touch, Baron uses Paul Bowles’ original score for the play. The tinny recording of the impressionistic music evokes the play’s 1930s setting.

Helen Hedman’s Amanda runs on the fumes of her youth as a Southern belle, when she supposedly attracted scads of “gentleman callers.” Amanda is resilient, and Hedman switches from despondency to charm with ease.

Lindsay Pittman is fine in the challenging role of Laura, showing a range of emotions and suffering in silence much of the time.

And Laura’s gentleman caller, Jim, played by Dallas Lish, keenly captures the character’s bonhomie and insecurities.

Enterline won’t make you forget David Mays as Tom for CityRep in 2008, but he begins and ends the play on strong notes. You feel Tom’s frustration being ensnared in a dead-end job as a shoe-warehouse worker when he’d rather be writing poetry.

 
  • Currently 3.5/5 Stars.
  • 1
  • 2
  • 3
  • 4
  • 5
 
 

 

 
 
 
Close
Close
Close