Booth Theatre, (9/26/2013 - 2/23/2014)

First Preview: Sep 05, 2013
Opening Date: Sep 26, 2013
Closing Date: Feb 23, 2014
Total Previews: 24
Total Performances: 173

Category: Play, Drama, Revival, Broadway
Description: Part I: Preparation for a Gentleman Caller. Part II: The Gentleman Calls.
Setting: An Alley in St. Louis. Now and the Past.

Opening Night Production Staff

Theatre Owned / Operated by The Shubert Organization (Philip J. Smith: Chairman; Robert E. Wankel: President)

Produced by Jeffrey Richards, John N. Hart Jr., Jerry Frankel, Lou Spisto / Lucky VIII, INFINITY Stages, Scott M. Delman, Jam Theatricals, Mauro Taylor, Rebecca Gold, Michael Palitz, Charles E. Stone, Will Trice and GFour Productions; Associate Producer: Golden + Gold, Yohei Darius Suyama, Greenleaf Productions, Maximilian Traber, Charles Reetz, Michael Crea and PJ Miller

Originally produced by The American Repertory Theatre

Written by Tennessee Williams; Music: Nico Muhly

Directed by John Tiffany; Associate Director: Benjamin Shaw

Scenic Design by Bob Crowley; Costume Design by Bob Crowley; Lighting Design by Natasha Katz; Sound Design by Clive Goodwin; Hair Design by Rachel Padula-Shufelt; Associate Lighting Design: Carolyn Wong; Associate Sound Design: Danny Erdberg; Assistant Scenic Design: Bryan Johnson; Assistant Costume Design: Mary Hurd; Assistant Sound Design: Jason Choquette and Charles Coes

General Manager: Richards / Climan, Inc.; Company Manager: Alexandra Agosta

Technical Supervisor: Hudson Theatrical Associates; Production Stage Manager: Steven Zweigbaum; Stage Manager: Chris DeCamillis

Movement: Steven Hoggett; Casting: Jim Carnahan, C.S.A. and Stephen Kopel C.S.A.; General Press Representative: Jeffrey Richards Associates, Irene Gandy and Alana Karpoff; Advertising: AKA; Digital & Interactive: AKA; Interactive Marketing Service: Broadway's Best Shows and Andy Drachenberg; Photographer: Michael Lutch; Press Associate: Christopher Pineda

Opening Night Cast

Cherry JonesAmanda Wingfield
Celia Keenan-BolgerLaura Wingfield
Zachary Quinto
Broadway debut
Tom Wingfield
Brian J. SmithThe Gentleman Caller
Jim O'Connor

Understudies: Kathleen Littlefield (Laura Wingfield), Karen MacDonald (Amanda Wingfield) and Nick Rehberger (The Gentleman Caller, Tom Wingfield)

Awards and Nominations

Tony Award®

 2014 Best Revival of a Play [nominee] 

Produced by Jeffrey Richards, John N. Hart Jr., Jerry Frankel, Lou Spisto / Lucky VIII, INFINITY Stages, Scott M. Delman, Jam Theatricals, Mauro Taylor, Rebecca Gold, Michael Palitz, Charles E. Stone, Will Trice and GFour Productions; Originally produced by The American Repertory Theatre

 2014 Best Performance by an Actress in a Leading Role in a Play [nominee] 

Cherry Jones

 2014 Best Performance by an Actor in a Featured Role in a Play [nominee] 

Brian J. Smith

 2014 Best Performance by an Actress in a Featured Role in a Play [nominee] 

Celia Keenan-Bolger

 2014 Best Direction of a Play [nominee] 

John Tiffany

 2014 Best Scenic Design of a Play [nominee] 

Bob Crowley

winner 2014 Best Lighting Design of a Play [winner] 

Natasha Katz

Drama Desk Award

 2014 Outstanding Featured Actor in a Play [nominee] 

Brian J. Smith

winner 2014 Outstanding Featured Actress in a Play [winner] 

Celia Keenan-Bolger

winner 2014 Outstanding Music in a Play [winner] 

Incidental music by Nico Muhly

Theatre World

winner 2014 Dorothy Loudon Award for Excellence [recipient] 

Celia Keenan-Bolger


AP: "B'way's 'The Glass Menagerie' Thrilling"

The way Laura makes her entrance in the new Broadway production of "The Glass Menagerie" is jaw-droppingly brilliant. She emerges from out of the middle of a sofa, as if being born anew. It's a tip that a thrilling night at the theater awaits.

There's magic from start to finish at the Booth Theatre, where the new production of Tennessee Williams's great play about regret opened Thursday starring a superb Cherry Jones and a revelatory Zachary Quinto. It's evocative, sometimes surreal and sublimely organic — the perfect package for a play about faded and frayed memories.

Like Laura's dreamlike entrance, the visual tricks include a business card pulled out of Laura's ear by the Gentleman Caller and the waving of a handkerchief over a slumbering Tom as if to help him disappear. Even the glass on the stage is an illusion: it's actually water.

"Yes, I have tricks in my pocket, I have things up my sleeve," the narrator Tom explains at the beginning, his words perfectly fitting for this beautiful, dreamy staging by the American Repertory Theater. The tricks remind you about the unreliability of memory and the games the mind can play.

Director John Tiffany, scenic designer Bob Crowley, lighting designer Natasha Katz and choreographer Steven Hoggett — who all made the musical "Once" so special — have done it again, blurring text and music and movement into a fresh and flowing, intimate staging. There is nothing excess here, no look-at-me pieces to distract.

Jones, already known as a force of theatrical nature, eagerly grasps Amanda Wingfield in all her complexity. Her faded Southern belle is smothering and needy, but also rightfully worried and loving, even if it's all wrapped up in her narcissism. She's no mere tyrant, as other productions are want to make of her.

Quinto as Tom is special — sarcastic and restless, yes, but also frustrated and sweet. (He makes a terrific drunk, too.) The "Star Trek" star mocks his mother with eye rolls and bitterness at times, but he also melts into her during less angry moments. His performance has so many colors, so much feeling, that it's breathtaking. Mother and son are utterly believable as adults who equally frustrate and comfort.

The two others in the cast prove up to these two aces, making it a true ensemble: Celia Keenan-Bolger is a delicate Laura, never overplaying her deformity and prone to staring into nothingness when she shuts down emotionally. Brian J. Smith as the Gentleman Caller is funny and warm and wonderfully lost.

The action takes place on Crowley's evocative set, with a fire escape that disappears into the roof and the stage made of interlocking wooden platforms above still water, serving like islands on a sea of memory. There is plenty of music, including original pieces by Nico Muhly, who relies on violins, as the text suggests. Katz's lighting is moody and dim, like a distant remembrance, only sparkling to life when a beam hits a glass unicorn.

And Hoggett has gotten his actors to enter and exit scenes in movements that are sometimes jerky or exaggerated, like watching warped film. Tom, for instance, basically falls backward into the play's opening scene, as if tumbling into the past. Another powerful moment has Laura and her mother endlessly setting the table, their hands fluttering as if in a montage of dozens of meals. Jones adds a shaky hand to hint at her increasing infirmity, justifying her worry of the future.

It's all heady stuff and an alchemy that must be experienced. All the parts fit — from the moody design to the stirring music and the push-and-pull of these characters — and all of it breathes life into a 70-year-old play. It is, like the work itself, unforgettable.


New York Daily News: "The Glass Menagerie"

No ifs, ands or buts — “The Glass Menagerie” should break your heart.

The new Broadway revival starring Cherry Jones and Zachary Quinto cracks it wide open. The striking production also opens your eyes to fresh insights in Tennessee Williams’ mid-’40s breakthrough.

It’s a remarkable achievement, considering how familiar we’ve become with the drama of overbearing Amanda Wingfield, her fragile daughter, Laura, and restless son, Tom.

When the play begins, Tom, like his father, has already deserted the women in his life. In this vision, Tom revisits his younger self with a simple, meaningful movement — taking a giant, unsteady step backward into the past.

Tom and his family are on the brink. In this thoughtful staging seen last winter at the American Repertory Theatre in Cambridge, Mass., director John Tiffany (“Once,” “Black Watch”) places the Wingfields on the edge of an abyss. The home floats over blackness.

Cramped rooms rest at odd angles in Bob Crowley’s stylized set. It’s as though the floorboards are warped by dashed hopes. Anxieties are so rampant they’ve even been absorbed by the few sticks of furniture. Williams used that idea in the short story “The Man in the Overstuffed Chair.” Tiffany ingeniously summons that notion in a haunting visual that reminds us how the doomed Laura is always in Tom’s mind.

The other evocative set piece is a tower of fire escapes ascending high into the heavens. Not that the Wingfields ever would notice. They’re caught up in a ritualistic grind, neatly underscored by Steven Hoggett’s choreographed motions. The Wingfields’ gaze, like their psyches, leans constantly downward.

In keeping with the strong, spare scenery, performances are lean and natural. Jones, a stage great who’s won Tonys for “The Heiress” and “Doubt,” endows Amanda with potent vitality. She can lose herself in the sweet-scented memories of jonquils and gentility, but she’s no shrinking violet. She’s fiercely maternal.

Quinto, of the “Star Trek” reboot, streaks Tom, the stand-in for Williams, with exasperation and surliness. His cruel abandonment of his family in the dark is all the more credible.

As the delicate Laura, Celia Keenan-Bolger draws you in with her transparent honesty. A simple line (“Mother, you’ve made me so nervous”) or lifting a typewriter shows how everything is a chore and painful. She has lovely chemistry with Brian J. Smith, who brings easygoing charm as Jim, the gentleman caller.

The fall Broadway season has just begun. This shattering and shimmering “Glass Menagerie” is the first must-see.

New York Daily News

Replacement/Transfer Info

The following people are credited as replacements or additions if they were not credited on opening night.

Booth Theatre

(9/26/2013 - 2/23/2014)
Company Manager: Daniel Hoyos(Dec 30, 2013 - Feb 23, 2014).

Production Stage Manager: Chris DeCamillis(Jan 7, 2014 - Feb 23, 2014); Stage Manager: Denise Yaney(Jan 7, 2014 - Feb 23, 2014).

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