Managing the Menagerie: A Directing Project
Catherine Tooke, Class of 2011
Sweet Briar College
I have created my director‟s notebook, in preparation for my production of The Glass
Menagerie. The necessary components of this include: plot analysis, character analysis, ground
plan, themes, historical background, blocking, beats and intentions, as well as narratives of each
scene. The narratives are important because they describe the action in the scenes, rather than
just what is being said. It will also include audition material, rehearsal schedule, goals of each
rehearsal, production calendar, costume renderings and anything else that will help me create a
compelling interpretation of The Glass Menagerie. For these purposes I will present excerpts of
the contents of the notebook.
I. Historical Research of Playwright
Note: I will not refer to Tennessee Williams as “Tom,” his given name, in order to differentiate
between the character from the “The Glass Menagerie,” and the playwright himself.
The Glass Menagerie, published in 1945, is one of the plays Tennessee Williams is most
remembered for. This semi-autobiographical piece was his first real success. This play has
been able to stay popular and relevant for over sixty years because of audiences can still relate to
it. The prevalent themes in the play such as fantasy and escape are feelings that most people
have at one time or another, making this play timeless.
Being a semiautobiographical play it is important to understand where Tennessee came
from. Cornelius Williams, Tennessee‟s father, grew up primarily without his mother; this fact is
something that in Tennessee‟s Memoirs he attributes to his father‟s distance and lack of emotion.
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Although he was not always incapable of love, during his courtship with Edwina, Tennessee‟s
mother, he phoned her every night and sent flowers to her every day when she fell ill for a
period, a story that is alluded to in The Glass Menagerie when Amanda talks of, “Malaria fever,
your father and jonquils.” In 1909 Rose Williams, Tennessee‟s older sister was born. Rose was
Tennessee‟s best friend growing up and inspiration for the character of Laura. In The Glass
Menagerie Laura is portrayed, as being slightly crippled with a limp, in reality Rose suffered
from mental and emotional instability and was later diagnosed was schizophrenia. However Rose
did go to Rubicam‟s Business School, but “could not cope with the workload” (Leverich, 116),
similar to Laura. Tennessee was born two years later in 1911. Tennessee was completely
devoted and fascinated by Rose until he died.
A huge turning point for the Williams family was when Cornelius became a traveling
salesman for the International Shoe Company in St. Louis. This happened in 1914 the same time
as the beginning of the First World War, although the rest of the family would not join him in St.
Louis until 1918. This is important because St. Louis is where The Glass Menagerie would take
place. In 1919 Tennessee‟s younger brother Dakin was born. Dakin is not included or
referenced at all in The Glass Menagerie he is the only one in the immediate family who is not.
There are a few reasons that this could be so such as, “Cornelius would grow much closer to this
child [Dakin] than to either Rose or Tom,” (Leverich, 51) which probably produced much
jealousy. Also, in my opinion, Dakin did not seem to live in the extreme and therefore would not
be as interesting to watch on stage.
Tennessee attended University of Missouri, but was pulled out by his father when he
failed out of ROTC. What is most important about this is that after leaving university his father
got him a job at the shoe factory. This would provide inspiration for The Glass Menagerie
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because that is where Tom worked as well as inspiration for A Street Car Named Desire because
at the shoe factory he would befriend a man named Stanley Kowalski, who would become one of
the characters in the play. Tennessee would return to university two more times finally
graduating from the University of Iowa in 1938.
Another great turning point for the Williams family would be in 1943 when Rose was
lobotomized. The operation made her very low functioning. Throughout all of Rose‟s illness
Tennessee had become quite paranoid about his own mental health, and this only added to it.
Later in that same year Tennessee would become employed by Metro Goldwyn Mayer or as
Tennessee playfully called it “Metro Goldmine Mayer.” When Tennessee gave them the script
to The Gentleman Caller, the original name of The Glass Menagerie MGM did not want to pick
it up, little did they know it would become a huge success. Although years later L.B. Mayer
would try and claim the rights to the play.
Regardless of MGM‟s disinterest in The Glass Menagerie is would still be produced, but
in the theatre. The play would star Laurette Taylor and Eddie Dowling with Julie Haydon as
Laura and Tony Ross as Jim. Dowling also produced and staged the play along with Margo
Jones as assistant director. Before being produced there was much commotion amongst those
involved with The Glass Menagerie. The first that Dowling wanted to add a “drunk scene” to
the play that was quite ridiculous, as Tennessee states on page 82 of his Memoirs, “This „drunk
scene‟ obviously composed in a state that corresponded, was given a me as a fait accompli the
next day when I crept into rehearsals.” Thankfully for the integrity of the play this scene that
incorporated red white and blue flasks was not included in the play. Problems continued when
Laurette Taylor and Eddie Dowling could not get along. Taylor felt Dowling was too old to be
playing her son, and much of the tension between the two was brought out on stage, “bringing a
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startling intensity to their fight scenes” (Leverich, 566). When The Glass Menagerie first opened
in Chicago is was not the huge success that it is now. It was not until Ashton Stevens and
Claudia Cassidy, who were top critics at the time, wrote their reviews of the play that ticket sales
go up. Tennessee‟s father Cornelius did travel to Chicago to see the show but believed this play
did not portray his family, although his younger brother Dakin said it was a spot on portrayal.
Because of the success in Chicago the play would move to New York. In New York it was just
as successful if not more.
The Glass Menagerie is still performed regularly because of its ability to capture an
audience with its poetic writing, strong plot and intense characters. This is the play that Lyle
Leverich believes completed his transformation from being Tom Williams to Tennessee
Williams. Tennessee Williams was able to turn something personally therapeutic into a piece
that all people could relate to and find therapy in, and that is why it has been so successful.
II. Narratives
Scene 1
This scene begins with Tom addressing the audience. In this first monologue he
introduces the characters of the play, as well as giving some exposition. During his introduction
he reveals how he feels about the characters in his play by comparing them to the “realistic”
gentlemen caller. He also reveals his feeling of abandonment by his introduction of his absent
father.
The next part of the scene is in real time and takes place around the dinner table. It
begins with Amanda making sure that Tom and Laura‟s focus remains on her, by telling an
unimportant story. While Laura is engaged in the story Tom‟s mind is elsewhere. When
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Amanda sense‟s that she does not have one-hundred percent of her audience‟s attention, she
moves the conversation to insulting Tom, to put him back in his place. Because Tom gets up
from the table Amanda perceives Laura‟s getting up as an even greater loss of focus so then
Amanda makes an even greater show, by playing the part of a servant.
Amanda then tries to re-captivate her audience by telling stories of her youth. While
Tom would prefer t spend the rest of the night in silence he is persuaded by Laura to listen to
their mother‟s glory days. Tom and Laura indulge their mother by playing along in her game and
listening to her. In the end Laura hits Amanda with the reality that she may never marry.
Scene 2
In this scene Laura plays innocent while Amanda tries to give Laura the chance to be
honest about her quitting secretarial school, so that she does not have to accuse her. To get
around accusing Laura, Amanda makes a big to-do about how terribly embarrassed she is. This
is another example of Amanda making the situation about herself. Instead of making it about
Laura, who dropped out of school, it becomes about Amanda who is too ashamed because of
Laura‟s lie.
After going back and forth a bit, the truth finally does come out and Amanda confronts
Laura about what‟s been happening. It is at this point that Laura reveals to the audience her
terrible anxiety. At this point some light is shed on the audience as to why Laura may never
marry, and it is because she is so helpless. It is also here that we learn about Laura‟s incessant
need to please Amanda, which is why she probably went to secretarial school in the first place,
and is why she lied about dropping out because she did not want to disappoint her mother.
Amanda definitely senses this and that is why she tries to find a solution to the problem of taking
care of Laura.
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Amanda hopes that maybe Laura could get married one day. Amanda feels that she must
build up Laura‟s confidence by not allowing her to think of herself as crippled so that one day
she can find someone to take care of her. Because it obviously deeply worries Amanda that she
will not always be around to take care of Laura. The scene ends with Amanda thinking about her
estranged husband and her bitterness towards him, for leaving her alone in this situation.
Scene 3
This scene begins with Tom addressing the audience again. This convention is used to
fill in some of the gaps between the second and third scene of the play. We learn that Amanda
has now put all her energy into making it possible for Laura to get married. Her fantasies have
started to loom over the entire apartment. Amanda has also become very proactive by starting to
work to gain extra money to make this a possibility. Amanda‟s work is selling subscriptions to a
journal for women. As Tom describes this, it is obvious that he has a great distaste for
everything involved in this.
When the scene goes back into real time, Amanda is seen on the phone trying to sell a
subscription. Amanda is not strong and in control in this particular situation and contrasts
greatly to how she has been portrayed when interacting with her children. Rather in this scene of
Amanda, she is almost pathetic grasping at anything. When she is hung up on she tries to regain
composure by ordering Tom around. It‟s as if she must remind her children that although she
may not have control over the general public, she is still in charge of them, even though they are
adults. She does this by picking at Tom.
Her picking eventually provokes Tom enough, that he starts to attack her verbally, and
reminds her how little control she actually has because he‟s the one paying the rent on their
apartment. He also lets her know that he resents everything she holds above him. Amanda tries
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everything she can to regain control over the situation but cannot obtain it again. When Tom
leaves he is letting Amanda know that he‟ll one day leave forever, as well as letting her know
that she can‟t control everything he does.
Scene 4
This relatively short exchange between Tom and Laura shows the audience what kind of
relationship Tom has with Laura. When Tom comes home drunk, Laura is completely innocent
to what he may have been doing until the wee hours of the morning. Although Tom spins this
ridiculous story, Laura really seems to go along with it whether it is because she wants to believe
Tom or if it is because she is too innocent to think otherwise.
What is so interesting about the dynamic between Tom and Laura is that Tom is Laura‟s
younger brother, but you would not suspect that from this scene. This scene ends with a
reminder of Laura‟s need to please by her begging Tom to try and be quiet so as not to wake
their mother. Tom still annoyed with Amanda wants her to wake up so she can know how late
he came in.
Scene 5
This scene begins with Laura mediating between Tom and Amanda the morning after
their fight. The way Laura is talking it seems that this is a frequent occurrence. What finally
brings Tom and Amanda together in the same room is their worry over Laura as she slips on the
fire escape. After Laura leaves, Tom relents and apologizes to Amanda. After Amanda makes a
big show of it, she tries to act overly motherly, and show how much she cares by trying to stuff
food down Tom‟s throat. Amanda then uses Laura as a vehicle to discuss Tom‟s happiness.
Then Amanda starts to compare Tom and her estranged husband. It worries Amanda that
Tom leaves so much for “adventure” because it would seem that, that was the reason behind her
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husband leaving their family. Amanda tries to guilt this desire out of Tom. When Amanda
realizes she isn‟t getting anywhere with Tom she switches tactics, and goes back to the subject of
Laura. It is here that Amanda offers Tom a “get out of jail free card,” and guilt free ticket to
leave the family.
Amanda knows that Tom is going to leave, it is inevitable, but she just asks Tom to wait
until something is in place to make sure Laura is in a secure position. So, she asks that Tom
bring home a gentleman so that this can happen. Tom is completely embarrassed b this
proposition but knows it‟s his only “guilt-free” way out. The scene ends with Amanda going
back on the telephone to sell more subscriptions. Because she is in a positive mood she is able to
succeed.
Scene 6
Begins again with Tom addressing the audience. He describes the Paradise Dance Hall
across the street. He sees people living their lives, and wishes he could join them. Even though
this for him is a memory it is obvious that it still gives him comfort to imagine himself as one of
the people at the dance hall as a way of escaping.
When the scene goes into real time, Amanda wastes no time getting on Tom‟s back about
something, this time it being his smoking too much, although this time her hassling him fades
pretty quickly. During this scene the audience can actually see that sometimes Tom and Amanda
have a completely functional relationship. To make things even better Tom is able to brighten
the mood by telling Amanda that he is going to bring home a gentlemen caller for Laura. The
excitement is too much for Amanda; she really goes beyond happiness when Tom tells her this.
Amanda starts to fuss and for once it is not at Tom. It is obvious that Tom enjoyed giving her
the good news and actually enjoyed having a little bit of a bonding moment with his mother.
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Of course because nothing can be perfect for Amanda she needs to ask Tom every detail
about this man to make sure he is good enough, even though in reality it is not as though Laura
has many suitors that she can just choose from, it‟s like Amanda is playing make believe that she
does have a choice. As Amanda is interviewing Tom about Jim‟s possible flaws, Tom makes a
nasty comment about how Amanda chose the most flawed man for herself. To regain composure
Amanda starts focusing on the positives of Jim such as his taking night-classes to improve
himself.
Tom confronts Amanda about Laura, and about how he worries about her because she is
different than other girls because of her anxiety problems. Amanda won‟t outwardly accept this,
but obviously knows because that‟s why she is so worried about Laura‟s security after Tom
leaves. Laura comes in and Amanda gives Laura hope and fills her in on the excitement.
Scene 7
This scene begins again with Tom addressing the audience. Tom explains to the
audience his relationship with Jim at the warehouse. By doing this we learn that Jim wants to
recapture his glory days. We also learn that Jim makes Tom‟s life a little easier at the
warehouse, by being nice to him, because Jim is his only friend down out at the warehouse.
The scene continues with Amanda and Laura getting ready for Jim to arrive. Amanda is
pruning Laura, and although no one else is around really embarrassing Laura as well. When
Laura does not seem to enjoy the fuss that is made over her, and actually finds it disingenuous,
Amanda decides to make a fuss over herself. Amanda changes into her dress and waltzes in the
room allowing Laura take in how beautiful she looks. Amanda will continue to parade and show
off her dress, while reliving her youth.
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The gears switch when Laura learns that it is Jim O‟Connor who is coming to dinner. In
this moment Laura goes from being nervous, then passes anxiety, straight to becoming ill. As
the doorbell rings, inevitably with Jim and Tom on the other side, there is obvious inner turmoil
going on in Laura. She is conflicted, and wants to runaway, but know she has to answer the
door. Right before Laura answers the door Amanda acknowledges how hard this must be for
Laura, and gives Laura her support. Laura answers the door to Jim and Tom, and greets them.
As soon as she can Laura retreats back to her room.
After Laura leaves Tom and Jim have an exchange. Its starts with them choosing
sections of the newspaper, Tom picks the comics revealing his want to be outside reality and Jim
picks the sports section showing him to be a “guys‟ guy.” The conversation goes to the
warehouse, and Jim wants to help Tom out, because he fears Tom is going to lose his job.
Instead of worrying with Jim, Tom lets Jim in on his secret to leave. Suddenly, Amanda comes
in and without missing a beat starts buttering Jim up, and singing Laura‟s praises. Wanting Laura
to stay in Jim‟s mind she makes Laura come out into the main room and at least lie on the sofa
while they are having dinner.
Scene 8
The finale scene begins with the end of dinner. Jim and Amanda seem to be having a
good time until the lights go out. As they are lighting candles Jim politely pretends that he does
not know why the lights have gone out as says he can check the fuse box. Tom does nothing in
this situation because he already made the choice not to pay the electric bill. Jim tries to
awkwardly lighten the mood as Amanda and Tom begin to spat. Amanda uses this as an
opportunity to send Jim to sit with Laura.
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Jim comes to sit by Laura, at first making her quite uncomfortable. Slowly Laura gets
more relaxed at Jim and reveals herself as “Blue Roses.” They begin to talk about high school,
and Laura fawns over Jim. Jim obviously senses Laura‟s adoration for him, and plays into it, by
signing her program from his performance of the Pirates of Penzance. Jim then tries to build
Laura up, by saying she has so many possibilities and not to cut herself off to any of them, and at
the same time he is building himself up. Now that Laura feels at ease with Jim she invites Jim
into her “world” that she escapes to, and shows him her glass animals. Jim then asks Laura to
dance. Laura makes herself vulnerable by really exposing her physical problems, when she
begins to dance with Jim. Jim then accidentally breaks Laura‟s favorite glass figurine, the
unicorn, while dancing. Laura, blinded with her fondness of Jim, is able to carry on. In a
moment of high energy Jim kisses Laura, and then immediately regrets it. Jim becomes a little
nervous, in great contrast to his usual confident self. In this moment he tells Laura that he is
already engaged. With as good of timing as always Amanda comes in and tries to coax Jim into
staying longer, until she finds out as well that Jim is engaged. Jim ten leaves.
After feeling completely humiliated Amanda starts in at Tom, and blames him for her
feelings. Tom is innocent and denies knowing that Jim was engaged. For the first time Amanda
admits Laura‟s disabilities, and tries to guilt Tom with them. Tom then threatens to leave,
Amanda tells him to, something she hasn‟t done before.
Tom is now addressing the audience, and looking back on what happened that night. In
front of the audience he tries to handle his guilt of leaving Laura behind, and following in his
father‟s footsteps.
III. Plot Structure
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Exposition: Everything in the play has already happened because it is a memory. Tom and
Laura‟s father has left the family and they have never heard from him. Although the father never
appears his presence is definitely felt. Amanda the mother is a “fallen belle” she is from
Bluefield Mississippi and has obviously relocated to St. Louis Missouri (~375 miles away).
Inciting Incident: The inciting incident is in Scene 3 when Amanda tells Tom, “I won‟t allow
such filth in my house. No, no, no, no , no!” At this moment the audience can see the conflict
between Tom and Amanda. Because Tom replies “ House, house! Who pays the rent on the
house, who makes a slave of himself to—!” The fight continues, and Tom‟s duty to Amanda and
Laura is one of the central events.
Turning Points:
#1 There are two turning points in scene 5. The first is when Amanda confronts Tom about the
Merchant Marines (p. 31). What is important about this is that Amanda gives permission to Tom
to someday leave, after Laura is taken care of.
#2 The second turning point is directly after this when Amanda turns over control to Tom and
puts faith in him by asking him to bring home somebody from the warehouse for Laura.
#3 The next turning point is when Amanda finds out that Tom is going to bring home a
“gentleman caller” (p. 34). This is important because Amanda‟s emotions and expectations are
heightened, she also believes in Tom at this point. This scene shows that Amanda and Tom can
have loving relationship.
#4 In scene seven (p.48) Tom reveals to Jim that he has not paid the electric bill.
Crisis: Scene 8 (p.63) Laura‟s escape breaks (unicorn) and (p.64) Jim reveals to Laura that he is
engaged to be married.
Rising Action: Amanda confronts Tom about Jim being engaged p. 66.
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Climax: Amanda tells Tom to “Go then! Then go to the moon you selfish dreamer!”
Resolution: This occurs when Tom reflects to the audience and says, “I descended these steps of
this fire-escape for the last time.” Tom has finally overcome his mother‟s control, but he still
feels guilt about leaving Laura behind. This is seen by him saying “Oh, Laura, Laura, I tried to
leave you behind me, but I am more faithful than I intend to be!”
IV. Character Analysis
Amanda
In much of my research Amanda is referred to as a “fallen belle” and I think this phrase is
perfect. Amanda tries to live in her deluded world as much as possible. Reality is not a
comfortable place for her because there she has to accept that she‟s not successful subscription
saleswoman, her daughter is crippled both mentally and physically, and her son is destined to
leave. In reality she must accept that she is practically alone because of her husband “falling in
love with long-distance.” Amanda does change from the beginning of the play to the end of the
play. In the beginning Amanda needs to control every part of her children‟s lives. This is seen is
such parts as when she is telling Tom to eat slower, “Eat leisurely. A well-cooked meal has
many delicate flavors that have to be held in the mouth for appreciation, not just gulped down.
Oh, chew, chew—chew!” (Williams, 12). Also, it is seen when Tom and Amanda fight about
the book she returned to the library because she “won‟t allow such filth in [her] house”
(Williams, 22). Amanda is trying to maintain control over a situation that she has no control over
because as Tom says she‟s not the one paying rent. On page 31 Amanda relinquishes some of
her control to Tom when she asks Tom to find someone at the warehouse for Laura. This is
important for many reasons. The first is that is moves the plot along, the second is because this is
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the first time that Amanda really gives up any of her perceived power. When Amanda finds out
that Jim is engaged already she can‟t handle it because she gave up her control and now realizes
she has none at all. Amanda really is a sad character because she gives up so much to be
perceived by her children and the world as the height and epitome of class and elegance, and in
the end she is left with nothing.
Jim
As Tom describes Jim “I was valuable to Jim as someone who could remember his
former glory” (Williams, 41) Jim is also described as being the “most realistic character” as well
as a symbol that the Wingfield has been waiting for, forever. Jim is a nice man, he obviously
took some set backs, but has decided that he wants to return to his former glory. Because he
wants to return to what he once was he is taking the necessary steps in order to do so. He is
taking classes that qualify him for a higher paying job. In some ways Jim is the successful
version of Amanda. Amanda was just never able to regain her “glory.” Laura‟s unicorn also
represents Jim, when Jim reveals that he is already engaged it is just like when the unicorn
breaks. Jim becomes just like all the other horses.
Tom
Tom is a very interesting character because the Glass Menagerie is semiautobiographical. Tom at the beginning of the play obviously resents his mother and the only
reason he stays at home is because of his love for his sister. But he does love his mother because
he does try to please her by bringing home Jim so that one day maybe Laura can be taken care
of. Tom also tries to do right by his family by earning money to pay rent. When Jim turns out
not to be available Tom is blamed for everything by Amanda. This is the last straw for Tom and
he decides he can no longer live under the conditions that his mother has set out and he leaves.
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Tom is in fact always going to leave. Tom tells the audience he‟ll leave, but it is also obvious
within the memory that both Laura and Amanda realize that one day it‟ll happen.
Laura
Laura is filled with anxiety that come from a combination of things. The first is that
she created anxiety of her leg and her limp, which has caused her to be quite insecure. Because
she was mostly raised to believe she would have to work Laura becomes anxious about having to
take care of herself. Laura is also quite naive and wants to believe in the good in everyone, and
tries to find the good in a situation. Even when Jim breaks her unicorn she makes up a reason
for why it‟s all right.
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V. Ground Plan:
This is the ground plan for my production of “The Glass Menagerie.” Within the playing
area there are many different levels. This helps with variety, because the whole play is set in one
place as well as differentiating between various moods, especially the difference between Tom in
the present, and when in his memory. How the ground plan is used will be seen in excerpts of
the blocking that are provided.
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VI. Concept Statement
My concept statement is how I describe my particular production in a concise manner.
“The Glass Menagerie” exists within Tom’s memory, meaning that Amanda is how Tom
perceives her from the present. Within the play Amanda’s greatest flaw is that by trying to keep
her family together she is actually tearing it apart.
It is important that this is a memory play, and that the audience is reminded that we are
seeing this through Tom‟s eyes, who is hardly an unbiased party. This will be done by lighting
and with music. Music will be quite important to this production and will use Paul Bowles‟
Incidental Music for The Glass Menagerie to capture the dreamy quality.
Another important factor in my production is that Amanda is not the monster that she is
often portrayed as. Amanda‟s tragic flaw is that she is trying to hold on to her family as tightly
as she can, but by doing that she has alienated Tom and presumably that is how she alienated her
husband.
VII. Production Calendar/ Rehearsal Units
Below are my rehearsal units as well as my tentative production calendar for the fall.
Unfortunately, these things are subject to change.
Unit 1-ALL
Unit 3/4- Laura and Jim
Scene 7 part 3
Scene 8 part 2
Scene 7 part 4
Unit 5- Tom
Unit 2-ALL
Scene 1 part 1
Scene 8 part 1
Scene 3 part 1
Scene 8 part 3
Scene 6 part 1
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Scene 7 part 1
Unit 9- Tom, Laura, Amanda
Scene 8 part 5
Scene 4 (No Amanda)
Scene 3 part 2
Unit 6-Tom, Amanda, Laura
Scene 5
Unit 10- Tom, Laura, Amanda
Unit 7- Laura, Amanda
Scene 6 part 2
Scene 2
Unit 11- Tom, Laura, Amanda
Unit 8- Laura, Amanda
Scene 1 part 2
Scene 7 part 2
Scene 8 part 4
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VIII. Excerpts from the Script
Themes: The themes that I am highlighting in my production of The Glass Menagerie are
Reality verses Delusion and Escape verse Captivity. These are the parts of the play that hold the
most dramatic tension. In the script moments that best show reality will be in yellow, and
moments that show delusion will be in purple. Moments that show escape with be in orange and
captivity will be in blue.
Control is another important factor in this play, because it is the cause of the conflict between
Amanda and Tom, it will be shown with the color green.
Blocking: The blocking in the script will be shown by numbers next to the line that the
movement occurs on, with a corresponding number on the ground plan to show where the
character is moving.
Beats and Intentions: In the script these are shown on either side of the line. On the left side it
states what the character is doing during that beat and on the right side it states why the character
is doing it.
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Example 1: This is Act 1 Scene 3 of The Glass Menagerie. This is an example of how the beats
are laid out in the script. This moment is also the Inciting Incident that was described earlier.
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Example 2: Here is an example of how the blocking is done. The ground plans are below the
corresponding text.
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Example 3: Here in the climatic scene all the themes can be seen. The climatic line is
highlighted in pink.
IX. Costumes
Costumes are obviously a really important part of any production. Tom will be dressed in
cool colors while Amanda will contrast with warm colors. Usually reds are associates with
younger women, and because Amanda lives so much of her life in her past as a younger woman
it‟s important to show this through her clothing. Both Jim and Laura will have hints of warm
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and cool colors. Jim needs to have accents of both warm in cool colors because he is such a
huge symbol of freedom for both Amanda and Tom.
Renderings
Tom-Act 1 Scene: 1,3,4,5,6
Amanda- Act 1 Scene: 1,2,3,5,6
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Laura-Act 1 Scene: 5
Jim- Act 2 Scene: 7,8
QuickTime™ and a
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QuickTime™ and a
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X. Up Ahead
This project will continue into the autumn of this year and will be performed this coming
December. I will put all of these elements together in order to have a successful production of
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The Glass Menagerie. I hope to be able to present how powerful of a show this can be. As well
as allowing the audience to get an intimate look into this family‟s life. This play has the ability
to relate to people of all walks of life and I want to be able to create a connection between the
audience and the characters.
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Works Cited
Leverich, Lyle. Tom: The Unknown Tennessee Williams. New York: W. W. Norton &
Company, 1995
Williams, Tennessee. The Glass Menagerie. New York: Dramatist Play Service, 1948.
Williams, Tennessee. Memoirs. New York: New Directions Publishing, 1975.
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