‘Almost impossible to remain unmoved by the fragility of the piece’

In a revival which exposes the translucency of Williams’ play as much as it exhibits the painful vivacity of its characters, Headlong offers a typically stylistic interpretation of this endlessly modern play.  

Stripped of its original context down to the bare bones of Fly Davis’ set, the Wingfield family become periodically exposed to the dangerous outside world, whilst remaining desperately trapped within the three-walled black box that they occupy throughout.

Within the ‘dimly lighted’ space of Davis’ design, the complexities of Tom, Amanda and Laura stand opaque in contrast to the water that (literally and figuratively) surrounds, suffocates and finally drowns them.

the company provide a disturbing picture of broken dreams and fading memories

Tom Mothersdale’s wet footed narrator is as haunted, effeminate and whimsical as one could ask for, whilst the distraught figure of Greta Scacchi’s Amanda becomes the play’s most dominant shadow and Erin Doherty offers a truly painful and heart-wrenching performance as Laura.

A sodden tableau to Eric Kofi Abrefa’s restless and sure footed Jim, the company provide a disturbing picture of broken dreams and fading memories; made all the more distraught by the lighting and sound choices which have become the signature of one of Headlong’s most talented directors, Ellen McDouggal.

As the final frame fades, the water rises and the curtain falls it is almost impossible to remain unmoved by the fragility of the piece which at times seems to be as breakable as the eponymous glass menagerie, but which surely leaves a marked imprint on your mind.