You might, not unreasonably, think that I’d had my fill of Glass Menageries, having seen three in the space of a month late last year but Tennessee Williams’ memory play is one I enjoy especially and am usually keen to see. And so it was with Giles Croft’s production of The Glass Menagerie for Nottingham Playhouse where he is Artistic Director, this play being the one that inspired him to become a director and now 40 years later, he feels ready to tackle for himself.
Another key factor in my decision was this theatre’s participation in the Ramps on the Moon project, helping to mainstream disability arts and culture through programming and increased opportunities, here taking the form of casting wheelchair user Amy Trigg as Laura, the young woman whose physical fragility is matched by her emotional wellbeing, smothered as she is by overbearing mother Amanda and abandoned by brother guilt-ridden Tom. Continue reading “Review: The Glass Menagerie, Nottingham Playhouse”
“Everybody told us to forget about it. Now we’re all dying and everybody wants us to remember”
Eva’s memory is failing, daughter Susan recorded some of her recollections of her youth in Berlin but the cassette has gone missing and her daughter Rosie couldn’t care less, having adopted Berlin as her new home, withdrawing from the very family connection that her mother is trying to preserve. Skittering between London and Berlin and over the course of more than a decade, Rose Lewenstein’s Now This Is Not The End is a slight but serious piece of drama that eloquently explores how we’re moulded by our families, no matter how much emotional or physical distance we try to put between us.
Katie Lewis’ production is strongest when these three women are interacting, demonstrating that even though they’re trying the opposite, they’re carrying so much of their family legacy down from one generation to the next. Brigit Forsyth’s Eva subtly suggesting that her aloofness isn’t just a symptom of the early stages of her condition, Wendy Nottingham’s brittle Susan trying and failing not to repeat the lessons of the past, and Jasmine Blackborow’ spiky Rosie rather achingly looking for a sense of her own identity in a world with no easy answers. Continue reading “Review: Now This Is Not The End, Arcola Theatre”