Hope & regret in the Village Players’ bittersweet, nostalgic The Glass Menagerie

Jacob Klick, Deena Baltman & Claire MacMaster. Set design by Alexis Chubb. Costume design by Livia Pravato-Fuchs, assisted by Marcella Pravato. Lighting design by Jamie Sample. Photo by John Ordean.

 

The Village Players open their 2019-20 season with Tennessee Williams’ The Glass Menagerie, directed by Victoria Shepherd and running at the Village Playhouse. A deeply autobiographical play, in memory of a beloved sister, it’s the story of a family’s struggles of identity and survival in a world mired in the Depression with another World War around the corner—bittersweet, nostalgic, and full of hope and regret.

Tom Wingfield (Jacob Klick) is both narrator and participant in this tale as he invites us into the world of the small St. Louis apartment where he lives with his mother Amanda (Deena Baltman) and sister Laura (Claire MacMaster). The Wingfield patriarch has been absent some 16 years—a “telephone man who fell in love with long distance”—his ever watchful, smiling face aglow in a frame on the living room wall. It is 1937, and America has been struggling through the Great Depression, with WWII a couple of years away.

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Deena Baltman & Claire MacMaster. Set design by Alexis Chubb. Costume design by Livia Pravato-Fuchs, assisted by Marcella Pravato. Lighting design by Jamie Sample. Photo by John Ordean.

Profoundly restless and bored with his job in a shoe factory warehouse, Tom finds escape and second-hand adventure in the movies and in books; and squirrels himself away at work during lunch breaks, writing poetry. At home, he snatches brief moments of solitude and reflection as he smokes on the fire escape; and hatches a plan to join the Merchant Marine and get away for some real adventures. Meanwhile, a desperate but hopeful Amanda—ever navigating the challenges of keeping the body and soul of the family together—longs for a successful and happy future for her children, even as she criticizes and directs their actions. Retreating into moments of nostalgic reverie as she recalls her days popularity and hosting numerous beaux in the rural south, she is clearly troubled; a fish out of water—and out of time—in their urban Delta home. And the painfully shy Laura—who would likely be diagnosed with social anxiety today—prefers her rich world of imagination and light. Self-conscious about her limp and anxious about how others see her, she finds sanctuary from an outside world that is too overwhelming to bear as she escapes into her glass collection.

Concerned that her daughter’s fragile, anxious soul is unable to manage a career as a secretary, Amanda shifts focus onto finding Laura a suitable husband, and enlists Tom’s aid to find a beau for Laura. He invites co-worker Jim (John Shubat), a former high school golden boy known to both Tom and Laura, over for dinner. Laura had a crush on Jim in high school, and the hopes and dreams of this gentleman caller are met with a frank and unexpected reality check.

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John Shubat & Claire MacMaster. Set design by Alexis Chubb. Costume design by Livia Pravato-Fuchs, assisted by Marcella Pravato. Lighting design by Jamie Sample. Photo by John Ordean.

Nice work from the cast in this snapshot of familial hope, regret, loss and disappointment; moments of humour and tenderness bring take the edge off the brutal frankness and disillusionment of this world. Klick’s Tom is a study of restless detachment; dutifully bound to ensuring the family’s security as the man of the house, Tom is boiling inside—busting to get out and away, and to a life of his own. Baltman brings a desperate edge of optimism to Amanda, a woman whose life vacillates between memories of better times and the harsh realities of present-day existence. Longing for the gentler, civilized days of her bygone youth—a world that no longer exists—Amanda’s gay, energetic girlishness belies an exhausted, lost middle-aged woman grasping for purchase and hope in world she neither understands nor wants.

MacMaster adds a hint of irreverent spunk to the otherwise fragile, introverted Laura. Losing herself in a world of light and magical creatures, Laura finds a sense of safety and belonging from the world outside their apartment. And Shubat’s Jim is the picture of affable charisma and confidence, tempered by the world weariness of a young man who peaked in high school. Jim has high hopes for the future; aiming for a career on the ground floor of television, he represents hope for the Wingfield family; and a high-energy, forward-thinking future where popularity and showmanship are bound to succeed.

In the end, all of these characters are misfits in his/her own way; lost and searching for a way to be in a changing modern world. And, to varying degrees, each is struggling to keep the pain of disappointment from turning into the paralysis of discouragement. The world seems to be made for the popular and confident, with higher value placed on the traditional markers of status and success than on more imaginative and unique qualities—where unicorns are encouraged to be just like the other horses.

With shouts to the design team for their work on bringing this world of fading memory to glowing life. Alexis Chubb’s homey domestic set, revealed by the opening of sheer curtains, nicely complimented by Jamie Sample’s lighting design; John Stuart Campbell’s sound and music design, incorporating popular music of the time and haunting, crystalline original compositions (featuring Vivien Shepherd on vocals) as it conjures the music hall across the alley and complements the emotional tone; and Livia Pravato-Fuchs’ (assisted by Marcella Pravato) period costumes, transporting us to both 1937 and Amanda’s youth.

The Glass Menagerie continues at the Village Playhouse until September 28. Advance tickets available online or by calling 416-767-7702.

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Notorious, tough & clever—the lives of women gangsters in the compelling, edgy The Elephant Girls

Margo MacDonald as Maggie Hale in The Elephant Girls—photo by Andrew Alexander

Red Sandcastle Theatre launched its second Wilde Festival production, partnering with Parry Riposte Productions to mount Margo MacDonald’s The Elephant Girls, directed by Mary Ellis. The Elephant Girls opened at Red Sandcastle’s storefront space at Queen St. East and Logan, Toronto last night to a standing ovation.

Inspired by stories about notorious London girl gang the Forty Elephants, and drawing on research from Brian McDonald’s The Gangs of London (2010, Milo Books Ltd.) and Alice Diamond and the Forty Elephants (2015, Milo Books Ltd.), MacDonald has created a one-woman show featuring Maggie Hale, a character that combines several gang members, most notably Maggie Hill/Hughes.

We join Maggie in a London pub in 1937. Buy her a pint or two, or three, and she’ll regale you with tales of her life in the 1920s with the Forty Elephants (aka the Elephant Girls), sister gang to the Elephant and Castle Boys. We learn how Maggie went from a lone thief, paying out to a local gang, to catching the attention of Alice Diamond, the Queen of the Forty Elephants; and how Alice scooped her up and got her trained up to be the gang’s enforcer. And, perhaps even more importantly, set Maggie on a path of self-discovery by encouraging her to dress in men’s suits and cut her hair.

It’s all shits and giggles, and tall tales of gang shenanigans and politics—including some brutal, darkly funny interrogations—and a revolving door of incarceration, with sentences increasing along with her growing notoriety. Cool as a cucumber, it’s the life—and the life’s a game. But as Maggie gets well into her cups, the tone changes. It’s then that we see flashes of honesty and heartbreak: an abusive father; the psychological and physical hardships of prison; and pangs of desire and internalized homophobia as her professional knack for violence turns itself to personal matters.

Outstanding performance from MacDonald, who is a compelling and entertaining storyteller; going from suave, charming and cocky to progressively darker and more aggressive as Maggie’s rage and frustration emerge. With few options for working class women to make a living and survive, Maggie found herself having to choose between wife, factory worker, thief or whore. Mistrusting the path of love, she struggles with “unnatural” desires, and a huge crush on her boss and mentor Alice.

With shouts to costume designer Vanessa Imeson, for Maggie’s fabulous pinstripe ensemble.

Notorious, tough and clever—the lives of women gangsters in the compelling, edgy The Elephant Girls.

The Elephant Girls continues at Red Sandcastle until Feb 25; it’s a very short run with just four more performances, and in an intimate space, so best to reserve your spot in advance online or by calling 416-845-9411.

The Elephant Girls is prepping for a UK tour this Spring; please consider supporting the production by donating to its Fund What You Can campaign.

In the meantime, check out this excerpt from the show, from CBC News Ottawa.