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byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL eErqIx byle__name-lk button" href="/ntributors/john-lahr">John Lahr</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2010-03-29T00:00:00-04:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd kYZrFA kEBrdf">March 29, 2010</time></div></div></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" 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asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Keira Keeley and Judh Ivey as Lra and Amanda Williamss masterpiece." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Keira Keeley and Judh Ivey as Lra and Amanda Williams’s masterpiece.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Illtratn by Robert Risko</span></div></figure></div><p class="has-dropp has-dropp__lead-standard-headg">In 1980, at the age of nety-five, Edwa Williams, the mother of Tennsee Williams, died. “Like an element of nature, she seemed to be directed bldly,” Williams wrote to Elia Kazan after her funeral. He went on, “Only four foot eleven, she nquered my father who was six feet and drove him out of the hoe as soon as she received half of ‘Menagerie.’ Allowed the State hospal to perform one of the earlit lobotomi on Rose”—Williams’s sister. “Unnscly managed to turn both her sons gay.” Edwa’s many malignant quali clud beg a igid hysteric, given to manipulative bouts of fatg, and a non-stop talker, whose barrage of chatter opprsed her mute and hapls children. “I . . . pretend thgs weren’t as bad as they seemed,” she wrote her memoir, “Remember Me to Tom.” “All of are actors to the gree we mt be to survive.” This masquera ma difficult for her children to get hold of her or to unrstand her. She talked but didn’t listen; she smothered but didn’t touch. “We never had and didn’t expect ,” Tennsee’s younger brother, Dak, said to me about the absence of physil affectn the hoehold. But although Williams later referred to his mother as “a ltle Pssian officer drag,” was Edwa who, a real sense, dreamed him up as a wrer, buyg him his first typewrer at age twelve, referrg proudly to her clgg, anx boy as “mah wr’ son,” and drivg yet another wedge between Williams and his alholic, equently absent father, who dismissed his son’s lerary ambns as foolishns.</p><p class="paywall">“The Glass Menagerie” ( a Long Wharf Theatre productn, at the Lra Pels) is a portra of the Wgfield fay—the hysteril Amanda, her wrer son, Tom, and her crippled dghter, Lra. It mythologiz Williams’s guilt-ridn attempt to flee his mother orr to claim his artistic sty, but is also Edwa’s narrative of the Williams fay—a saga of hatred, abandonment, abe, self-sacrifice, and endurance. In the play, Williams ptur his mother’s sctivens, her nostalgia for patrician Southern life (she was a member of the Dghters of the Amerin Revolutn), her loquacns, her narcissism, and her elivens. It’s a sort of mil renrg of the toxic Edwa. Williams’s sanizg of his past “The Glass Menagerie,” however, is nothg pared wh the director Gordon Elste’s current stagg of the play, which is more a bowdlerizatn than an terpretatn. Williams’s words are not tampered wh, but only one scene (the bt the productn)—Lra’s heartbreakg ndlel flirtatn wh the Gentleman Caller—is played as Williams wrote . Elste’s rny directorial trope is to stage the play as if were happeng si Williams’s head as he wr. There is no social ntext—no tenement, no fire pe, no cramped “hive-like” apartment to visually rerce Tom’s parlo “two-by-four suatn”—and, worst of all, no lyricism. Instead, the arena which the Wgfield fay to life is a large, umpy, high-ceilged hotel room, wh slloped crimson wallpaper on the upstage scrim and a wrg table phed downstage, visible throughout the play.</p><p class="paywall">As Williams wrote , “The Glass Menagerie” begs wh the jolt of direct addrs: a mature Tom, now ntrol of his talent and his life, looks back at his begngs. “Y, I have tricks my pocket, I have thgs up my sleeve,” he tells the dience, the play’s thrillg first le. “But I am the oppose of a stage magician. He giv you illn that has the appearance of tth. I give you tth the pleasant disguise of illn.” The rt of the play is a monstratn of the narrator’s hntedns and of Williams’s imagative power. “The play is memory,” Tom says; fact, is a ghost story which Williams light, sound, and symbols to give shape to the ghostly qualy of his own ternal world.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Direct addrs suggts that the dience is beg let on a secret. In Elste’s productn, we are, stead, let on a documentary. In the openg four mut of the play, a long time the theatre, Tom (Patch Darragh) enters, puts on a rerd, loosens his tie, and readi himself to wre—a preparatn that clus swiggg om a bottle of Bourbon (though drkg as an aid to wrg was a hab that Williams didn’t acquire until nearly a later)—and, after much flimflammery, starts to type. When Tom fally gets around to speakg the play’s first words, he talks to himself, as if soundg out l hot off his typewrer. We don’t enter <em>to</em> memory; we’re <em>outsi</em> , watchg take place. This is a huge shift narrative tone, dramatilly speakg—like swchg om first to third person. To members of the dience who don’t know the masterpiece, may e as a surprise to learn that none of what they’re seeg was wrten by Williams. To those who are faiar wh the play, ’s an outrageo piece of tellectual impertence om a director who is tryg to claim -thorship of a play that he imperfectly unrstands. At a stroke, Williams’s purpose and his meang are skewed and screwed. The dience has paid to see a play that don’t get. Theatrilly, emotnally, and morally, this is a bankpt vice.</p><p class="paywall">Ftg the plexy of Williams’s story to the simplicy of Elste’s nce is a b like puttg a drs on a dog. It n be done, but not whout makg the owner look silly. Here Lra’s cherished llectn of glass figur is kept not by her (the excellent Keira Keeley) but by Tom, his wrg sk. The story do not beg, as wrten, wh the dysfunctnal fay un a snapshot around the kchen table; stead, ngoly, Amanda (Judh Ivey) livers her furiatg mantra on Tom’s eatg habs—“Human begs are supposed to chew their food before they swallow down”—as Tom is hunched over his typewrer. When Amanda slds Lra for gog <em class="small">AWOL</em> om her secretarial urse, there is Tom downstage, scribblg; when she learns that the man whom Tom has brought home as a “gentleman ller” for Lra is engaged and th not marriage material, she shouts for Tom, who is jt two feet away, wh notepad hand. The sertn of Tom the Wrer to every nook and cranny of the play giv a curly spl-screen qualy. We are never allowed to immerse ourselv the psychologil experience; we are forever distracted by the lerary one. The dience se Tom wrg, but the characters don’t; Elste’s stagg, he is the Harvey of Amerin letters.</p><p class="paywall">Williams’s wrg, Arthur Miller said, planted “the flag of bety on the shor of mercial theatre.” Even this leaky boat, the well-st actors, wh the swell of Williams’s geo dialogue beneath them, manage to get somewhere. As Amanda, Judh Ivey is superb. Alert and eloquent, she mak the tragedy of Amanda’s self-stctivens all the more poignant. Ivey suggts, unr the bright badage of Amanda’s Southern sgsong, her sulfuro rentment of her unhappy brood. “I’m jt bewilred . . . by life,” Amanda drawls, poleaxed by the news of Lra’s tancy. As Amanda briefs her son about the crentials of the Gentleman Caller (the peppy and persuasive Michael Mosley), Ivey creat a subtle picture that is at once passnate and ic, and tch Amanda’s lnal md gog to overdrive. “You are the only young man that I know who ignor the fact that the future be the prent, the prent the past, and the past turns to everlastg regret if you don’t plan for ,” Amanda, her excement, tells her md-boggled son. Darragh, as Tom, is at his bt when parryg Amanda’s tsive qutns about where he disappears to late at night. “I’m gog to opium ns!” he tells her. “Y, opium ns, ns of vice and crimals’ hang-outs, Mother. I’ve joed the Hogan gang, I’m a hired assass.” He’s ls effective when tryg to k the edy of Tom’s dnken speratn, a scene that he plays wh his pants around his ankl. He is not helped by Elste, who allows him other vulgari and lets him, at one pot, hump the bed, an entirely appropriate gture for Williams, who by his own admissn was “a ltle puran,” a stranger to his own body, until he was twenty-seven. The actors and the dience, seems to me, serve to be better red for. As Amanda would say, “There’s such a high price for negligence this world.” ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box ArticlePageSplAdRail-OyjwD jikppc"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="ArticlePageSplAdRailContent-jsltpq iZDmmY spl-ad-rail-ntent"><div class="ArticlePageSplAdRailTop-jUrrVY jzzFg"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="t2p2rh"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div><div class="ArticlePageSplAdRailMiddle-tiRvu hiZeZX spl-ad-rail-middle"></div><div class="ArticlePageSplAdRailBottom-dBKMGQ jmCMsn spl-ad-rail-bottom"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="ksfki8"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2010/04/05" data-reactroot="">April 5, 2010</a>, issue.</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/john-lahr">John Lahr</a> has wrten for The New Yorker sce 1991. 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rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Civil-Rights Showdown Nobody Remembers" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Clton High was the first Southern school to be tegrated by urt orr. Why did reluctant acceptance turn to vlence?</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Louis Menand</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm fvDIAb" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="How the Wrer and Cric Jacquele Rose Puts the World on the Couch" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Life and Letters</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">How the Wrer and Cric Jacquele Rose Puts the World on the Couch</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="How the Wrer and Cric Jacquele Rose Puts the World on the Couch" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Enlistg Frd and femism, she reveals the hidn currents poetry and polics alike.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Pal Sehgal</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard 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src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Front Row</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">“Passag” and an Art Monster’s Fierce Pury</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset 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