Since "The Glass Menagerie" has been long recognized as a masterpiece of American drama, there isn t much more that needs to be said about it from the likes of me. It may be illuminating, however, to read some of Tennessee Williams own words. In his preface to this script, he says of his style of drama:
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.
Of this particular play, he writes:
"The scene is memory and is therefore nonrealistic. Memory takes a lot of poetic license. 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."
These words describe not only our approach to this production, but also provide insight into the way Amanda's mind works, given her preoccupation with the glories and regrets of her past. Williams used poetic license about his own family when they became the inspiration for the Wingfields. It has been suggested that perhaps he was driven by a need to ease his conscience over his inability to help his sister battle mental illness. It is this same driving force that moves Amanda to attempt to "improve" her children. She laments, "I wasn t prepared for what the future brought me," and so she becomes increasingly determined to keep her children from repeating her mistakes, though her methods are clumsy and misguided. Nevertheless, there is a great deal of love in this family - otherwise how could they so readily cause each other such pain, and cause Tom so much guilt later?
An unending cycle of hope, disappointment, and escapism keeps the Wingfields caught in three different time periods: Amanda clings to the past and eyes any progress - cultural, spiritual, scientific - with unvarnished suspicion; Laura timidly hides in the safety of the present so as not to have to face the terrifying unknown of the next moment; and Tom dreams of an exciting future filled with movie-like adventures. Tom must finally act "without pity," Williams notes, in order to break free ... except that he will never truly be free as long as he carries his memories with him. Meanwhile, the Gentleman Caller is the only character in the play that has integrated his past, present and future into a balanced and generally happy life. "I may be disappointed, but I am not discouraged," he says. And that is what makes all the difference ... in this drama, and in life.
Craig Allen Mummey
