Review: Kym Vaitiekus Shares His Thoughts on THE GLASS MENAGERIE

The Ensemble’s season isn't built on fragile illusions like THE GLASS MENAGERIE; it’s grounded in impressive, outstanding productions.

Director Liesel Badorrek brings Tennessee Williams’ career-defining debut work to the Ensemble stage with a bold, multifaceted production. With a fresh and inventive eye, she breathes exuberant life into this classic, eliciting richly layered performances full of subtlety and emotional depth from every cast member.

THE GLASS MENAGERIE is a "memory play" that explores themes of illusion versus reality, longing, and the weight of the past.

Narrated by Tom Wingfield (Danny Ball), the story reflects on his life with his strong-willed mother, Amanda (Blazey Best), and his sensitive sister, Laura (Bridie McKim), as they navigate life in a cramped and squalid apartment during the 1930s.

Each character grapples with their own hopes and disappointments, creating tension between duty, dreams, and the desire for escape. When an unexpected visitor, Jim O’Connor (Tom Rodgers), enters their world, long-held emotions and aspirations surface, forcing each of them to confront their realities.

Blazey Best shines as Amanda Wingfield, the overbearing yet well-meaning matriarch. Living in nostalgia and desperate to secure a future for her children, her high expectations often suffocate them. Best’s portrayal effectively serves as the provocateur and agitator, illuminating the family's tumultuous journey.

 She seizes this character with aplomb, bringing Amanda to the forefront with fierce precision. It’s a joy to watch her delicately and powerfully depict a woman who has lost her cherished life among high society.

Bridie McKim embodies Laura Wingfield, a fragile and introverted young woman grappling with social anxiety and a physical disability. Her inner turmoil yearns for acceptance as an independent and free-thinking individual. I was so engrossed in McKim’s performance that I had to remind myself to watch the entire play, not just her masterful work. Her ability to weave together the intricate layers of Laura results in a deeply emotional performance that serves as a masterclass.

Danny Ball is Tom Wingfield, the protagonist and narrator, torn between a sense of duty to his family and his longing for freedom. Ball is another superb performer in this remarkable cast. His portrayal of Tom beautifully captures the character's internal conflicts—his drive to become a self-made man while fulfilling his obligations to his family and their existence. Ball cleverly injects a grounded essence into the narrator, portraying Tom with a difference, he has that inner soul perspective

Tom Rodgers plays Jim O’Connor, the “gentleman caller” who embodies both possibility and reality for the illusioned Wingfields. Although Jim carries the weight of lost potential, he is optimistic, pragmatic, and focused on self-improvement, providing a stark contrast to Tom, Amanda, and Laura. His presence unveils hidden truths in each character.

Rodgers continues to solidify his place in the theatre scene as a marvellous and exceptional performer, commanding the stage with his delicate and compelling portrayal of Jim—a flawed, hopeful, and blissfully unaware participant in the Wingfields' world.

Another highlight of the evening is Grace Deacon’s set design. Like Badorrek’s inventive approach, Deacon’s set combines elements of the era with a modern touch, reminiscent of crying hearts and the blurred memories of the past.

Composer and sound designers Damian de Boos-Smith and Maria Alfonsine contribute superb soundscapes and music that enhance the experience. One of Badorrek’s notable touches is the ethereal sequences that transition between narration and illusionary reality. Alfonsine and de Boos-Smith’s efforts serve as perfect complements to the performance.

Verity Hampson’s lighting design is sublime, elevating Badorrek’s directorial finesse. Hanson masterfully accentuates the essence of the work, particularly during the memory transition sequences.

The troubled journey of families and it’s members is an eternal struggle that relates to all. Some of the specifics of THE GLASS MENAGERIE becomes less pertinent as time moves on and our community progresses. (Although the current regression in society thinking may prove me wrong).

The struggles in THE GLASS MENAGERIE stem from a patriarchal, sexist and prejudiced society. Thankfully there has been some advancement within our humanity. 

Tennessee Williams’ renowned masterpiece has secured its rightful place in theatre history, making it a celebrated addition to the Ensemble’s 2025 season. Yet I still wonder how its themes resonate with today’s audience.

The ENSEMBLE also offers a school package that is an excellent accompaniment to student curricula.

I overheard a patron asking, “Who’s that in the poster?”

In line with the memory play, the Playbill showcases Amanda Wingfield in her glamorous days.

On the night of the performance, Best played Amanda with what appeared to be a makeup-free look, emphasizing a lifestyle lost.

Even though her performance outshone any concerns about her appearance, this choice allowed Best's youthful vibrancy to sneek through. An alternative approach for an aging Southern belle could involve a more garish aesthetic, perhaps evoking Amanda’s overzealousness.

Best’s performance alone is a compelling reason to buy a ticket—this, coupled with the stellar contributions from the entire ensemble and creatives.

Badorrek has delivered an impressive and imaginative production of THE GLASS MENAGERIE.

Kudos to the ensemble for another exceptional achievement.

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