The Glass Menagerie (starring Sally Field)
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The Glass Menagerie (starring Sally Field)
75

The Glass Menagerie (starring Sally Field) NYC Reviews and Tickets

75%
(530 Reviews)
Positive
76%
Mixed
18%
Negative
6%
Members say
Great acting, Absorbing, Disappointing, Thought-provoking, Ambitious

About the Show

Two-time Academy Award winner Sally Field and two-time Tony Award winner Joe Mantello star in a new Broadway revival of Tennessee Williams' classic memory play about a faded Southern belle and her two children.

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Member Reviews (530)

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68
Ambitious, Disappointing, Indulgent, Overrated, Quirky

See it if You are a fan of Sally Field & curious about Sam Gold's approach, rare chance to see Joe Mantello act, enjoy minimalist, barren sets

Don't see it if You revere the play & don't want to see it tinkered with, don't like minimal approaches stage lit at times just by candles, offbeat perfs

98
Great acting, Great staging, Absorbing, Resonant

See it if Superb acting by Sally Field as the mother who wants her disabled daughter to find a husband. Loved her "costume change" & the rain effects.

Don't see it if You prefer a modern drama instead. This is a classic but feels so fresh in this version.

Critic Reviews (59)

The New York Times
March 9th, 2017

"Mr. Gold and his cast, led by an intrepid Sally Field, have dismantled a venerable classic, but darned if they can figure out how to put it back together again...This is a production in which subtext elbows text out of bounds...Less a thought-through interpretation than a sustained scene-study class...On occasion, Mr. Gold’s interpretation takes on the vicious aspect of a nightmare in which you see your past at its distorted worst. But even that vision is not sustained."
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Time Out New York
March 9th, 2017

"Sam Gold’s starkly compelling, bravely executed revival...It’s rare for a Broadway audience to face an iconic stage classic so radically and brutally 'interrogated.' For that reason alone, it is imperative that you see it...For all this production’s cerebral choices and cold, distancing design, the emotional impact is there: love, disgust, betrayal, shame and the longing for understanding. Yes, 'Menagerie' is memory, and I’ll not soon forget this shockingly fresh frame and angle."
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New York Magazine / Vulture
March 9th, 2017

"A rigorously de-romanticized, contemporary rethinking by director Sam Gold...It is nakedly, bracingly theatrical...By paring everything extraneous from the mise en scène, Gold and his designers are preparing the audience to embrace the exploratory nature of the production...Purists may yelp. But...it’s a 'Glass Menagerie' that restores what must have been the shock of the original while also reframing our ideas about Williams as an imperfect person and a pitiless autobiographer."
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New Yorker
March 10th, 2017

"I couldn’t tell if my confused, hurt fury was caused by the pretentious and callous staging I had just witnessed or if my anger was a result of feeling robbed of the beauty of Williams’s script...Gold makes clear his desire to leave his mark on the play—at all costs, including the play itself...The actors tear through the script with little care for what is being said or how to say it...Gold puts a stop to the language by inserting himself and his own intellect where the Wingfields should be."
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The Hollywood Reporter
March 9th, 2017

" In a bold experiment that's often riveting but seldom wholly satisfying, director Gold rips away illusion like a bandage off a wound...Despite some fine work from the actors, you end up being moved more by the sheer resilience of the writing than by the intrusive presentation...The result is one of the most hauntingly lyrical dramas in the American canon transformed into a blunt dysfunctional family play in which indelible melancholy gets trampled by anger and bitterness."
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Entertainment Weekly
March 9th, 2017

"Gold applies an innovative yet back-to-basics take on an old standard, and the result is a stunning, emotionally rending production. It doesn’t hurt that he has stacked the deck with acting talent...The minute Tom delivers his opening narration with the house lights up, it’s obvious that this is a much-needed fresh perspective on the show...Though Gold's vision might not be for everyone, there’s no arguing that it’s a bold, creative one. The rare revival that breathes new life into a classic."
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Variety
March 9th, 2017

"A most unlikely candidate for deconstruction. But that doesn’t deter director Sam Gold from laying hands on this gem and subjecting it to a severe reinterpretation...Williams’s play has been stripped to the gut, shorn of its lyrical accoutrements and reduced to its raw text. But a strategy that might illuminate other dramas disregards the fact that these embellishments are intrinsic to the writer’s plays...Understated in the muted performances, the poetry is not quite lost, but diluted."
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The Wall Street Journal
March 9th, 2017

"Mr. Gold is apparently unhappy with reality—the play’s reality. So he creates a world of artifice more suited to his tastes...The results almost eclipse the two actors who lead the cast...Ferris barely hints at Laura’s shifting wisps of hope, shame and despair; neither do we get a sense of a fully developed private world...The night I saw her, Field was a monotone hysteric with time out for creepy sentimentality...Mr. Gold’s preferred figurine here is not glass, but leaden and sodden."
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The Observer
March 16th, 2017

"Stripped of its poetry, the rich lyricism of America’s greatest playwright is reduced to the rubble of words...With inconsistent and careless direction, the actors are rudderless...What’s missing is a clarity of vision and control of tone that would give this dark, depressing revisionist rehauling a reason to be different. Eventually the surfeit of pretentious clutter is overpowered by the writing of a master craftsman, and you realize the music in the language of Williams excels on its own."
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Deadline
March 9th, 2017

"This is not your parents’ 'Glass Menagerie'...For some theatergoers, this latest revival will be more of a nightmare than a dream of memory. Not for me...So we have a 'Glass Menagerie' that doubtless looks like nothing in Tennessee Williams’ imagination, and yet which in its way fullfills the playwright’s deepest desire, which was to invert the comforting conventions of 'realistic' theater and shake us to the core. That, Sam Gold has done, and then some. This is why we have revivals."
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The Washington Post
March 16th, 2017

"No epiphanies at all are permitted by director Sam Gold during his relentlessly contrived 'Menagerie'...Ungenerously stripped of scenery, poetry and continuity, Williams’s 1945 drama is also here devoid of emotional clarity...It does seem the height of arrogance to think that every play can be gutted like a house on HGTV...The choices are sometimes cosmetically clownish...In other cases, they’re misguided...and at still others, so distracting you’re taken completely out of the play."
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Chicago Tribune
March 9th, 2017

"Starkly unforgiving, mostly unafraid and surely unforgettable revival...Stars an extraordinary young newcomer, Madison Ferris...That first entry is an act that clearly taxes and costs Field and Ferris, immediately bonding them in a different way than you've seen with this play...There will be some who argue that Gold's production fundamentally alters Williams' play...I'd say that Gold should have gone further."
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New York Daily News
March 9th, 2017

"Revisionist reboots of modern classics can open your eyes—or make them glaze over. Broadway's stark, stripped-back new take on 'The Glass Menagerie' starring Sally Field lands, alas, in the latter category. Tennessee Williams’ 1945 masterwork has never emerged smaller, flatter or less poignant...On paper, it’s intriguing. In practice, it makes for a disjointed 'Glass' that is empty of emotion and impact. Intimacy gets lost when actors seem to be in different plays."
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AM New York
March 9th, 2017

"The winning streak of Sam Gold comes to a screeching halt with a misconceived Broadway revival of Tennessee Williams’ 1944 breakout drama...Gold, who apparently wanted to remove all artifice or period flavor, uses a bare, exposed-looking theater space, with just a metal table and a shelf of props...This all results in a painfully self-aware production that is devoid of Williams’ trademark lyricism....How about a simple production devoid of any self-conscious directorial concepts?"
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NY1
March 10th, 2017

"A bizarre conceptual take on the great memory play that, despite some strong performances, may be best left forgotten...Gold's directorial decisions are so radical in some cases they take the audience out of the play's poetic reverie...Individually, Field, Mantello and Finn Wittrock do excellent work, but stylistically the cast doesn't mesh all that well..This production never got beyond the experimental stage, and should have been left in the rehearsal room."
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Theatermania
March 9th, 2017

"Gold makes some baffling choices to undermine the power of Williams' story...Such stripped-down productions have the benefit of allowing the playwright's words to soar above stage wizardry, and that occasionally happens here, despite Gold's best efforts to bring it all down. Much of this has to do with the dynamite performances of our two lead actors...The whole thing leaves us feeling flat..It's an awfully contemptuous take on one of the most enduring dramas of the American theater."
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BroadwayWorld
March 12th, 2017

"Audiences walking in to see director Sam Gold's exquisite new production may think they've stumbled onto a run-through in the middle of the rehearsal process...While Gold does work a bit of stagecraft into the production before the final blackout, the evening's brightest spotlight is on the words of Tennessee Williams, as played by an excellent ensemble. This grounded version of 'The Glass Menagerie' is fully absorbing and thrilling in its simplicity."
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Lighting & Sound America
April 6th, 2017

"What confounds about this production is the many seemingly arbitrary directorial decisions that are at odds with Williams' text...At times, Gold seems determined to thwart Field's best efforts...Mantello gives by far the most successful performance...yet even he gets upstaged when forced to stand in front of the neon sign that stands in for the ballroom next door...In trying to strip away decades' worth of assumptions about this classic work, Gold has stripped out its essential qualities."
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Talkin' Broadway
March 9th, 2017

"A colossal disappointment. Here, the decoration, the artifice, and the gimmickry aren't just most of the thing, they're the whole thing...Choices that don't serve the play extend to the acting as well. Only Mantello comes close to bridging the gap between Williams and Gold...'The Glass Menagerie' can and should be shattering, to the Wingfields and, even more so, us. Alas, in building up rather than breaking down, Gold has ensured that nothing about this one is."
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TheaterScene.net
March 14th, 2017

"Gold seems to have decided to try ideas out that had not been attempted before with this script. However, if you love the play, you will want to give this production a miss - unless you wish to see it in a form you never imagined possible. Stripped of its poetry, 'The Glass Menagerie' loses most of the magic that Williams' play embodies and simply becomes an acting and director's workout like in a scene study class. It seems to have been attempted simply for the sake of trying something new."
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Theater Pizzazz
March 10th, 2017

“Minimally staged with bold performances to great effect...A thoughtful and creative staging of an expertly written work that transcends time and place…This production will no doubt prove a benchmark for new audiences, eliciting impossible comparisons down the road, particularly for both Sally Field and Finn Wittrock’s stellar performances...The hollowness we feel at curtain is evidence of a production that conveys the story perfectly.”
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CurtainUp
March 13th, 2017

"Intriguingly different and never boring. The problem is that this Van-Hovization-à-la-Gold is so extreme that the directorial vision has upstaged the author's poetic magic. While even Gold's most mouth-agape choices couldn't assail this virtually indestructible play, what ultimately held my attention was seeing just what bizarre business he would come up with next, and how the actors dealt with it...This cast fails to merge into a satisfactorily coherent and cohesive production."
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Front Row Center
March 10th, 2017

"Gold is interested in only one thing, really. People...I think in his effort to understand the humans in front of him, Gold has taken them out of context and lost them, and the audience in the process...Mantello and Wittrock both give excellent performances...I think in fact that Mantello’s Tom is the best I’ve ever seen...Field does a masterful job of trying to reconcile the irreconcilable, but in the end, we’re confused by the character and the play through no fault of hers."
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Front Mezz Junkies
March 9th, 2017

"The effervescent Sally Field as the desperate mother is astounding in her simplicity, frustration, and frailty...Unlike any other production I have seen before, the true power of this unique production is placed firmly on the shoulders of what are usually considered the secondary characters: The sister/daughter Laura and the gentleman caller...It’s a gorgeously powerful story, and here, Gold has managed to give us more view of it from a unique vantage."
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Exeunt Magazine
March 9th, 2017

"An exciting reinterpretation that obliterates the traditional trappings of the play, reveals the women in it with fresh insight, and may outrage purists. Delicious...In a culture where we avoid looking at disability, Gold keeps Laura’s body in our gaze...Sally Field’s performance softens our image of Amanda...The play benefits from an overall measured escalation. It’s not high-drama from scene one."
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T
March 30th, 2017

"Director Sam Gold has given us a controversial and fascinating visit with the Wingfield clan...The minimalist staging works here, as this is a family that does not have much...Mantello’s work here is witty and heartfelt, though it ignores the gay identity of the playwright he is to become...Sally Field has given us a sympathetic and contemporary-feeling Amanda...This is not a 'Glass Menagerie' for everyone. But with an open mind, you will most likely find it moving."
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Broadway Blog
March 10th, 2017

"A muscular, often anachronistic work...A production that bristles with familial uncomfortability. That pushes your boundaries beyond the suspension of disbelief. And that, ultimately, breaks your heart as the ties that bind unravel before your eyes...Stripped down to its bare walls, scenic designer Andrew Lieberman and lighting designer Adam Silverman create a barren theatrical landscape at the Belasco. But there is plenty to feast on in this production of 'The Glass Menagerie.'"
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C
March 9th, 2017

"The inherent poetry of Williams’ language has rarely sounded more prosaic...And yet. Heartbreak still abounds as we watch the show’s complex dynamic play out...Gold’s decision to cast Mantello makes this production something of a 'distant memory' play...It’s a fascinating, thought-provoking casting decision...There’s little question this production’s raison d’etre is Field...This 'Menagerie' is unquestionably a horse of a different color."
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DC Theatre Scene
March 9th, 2017

"Doesn’t include a glass menagerie! And that’s among the least intrusive of Gold’s directorial choices, which theatergoers must struggle to reconcile with the beloved text...All four members of the cast can be said to stand out, which is to say, it is difficult to assess their performances in isolation from the effect of the production as a whole...That is obviously what Sam Gold is trying to do, trying to make us see 'The Glass Menagerie' in a new light — but perhaps trying too hard."
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Times Square Chronicles
March 11th, 2017

"Everything about this production makes no sense...Sam Gold has deconstructed 'The Glass Menagerie' and completely miscast it. He has joined the Ivo van Hove team where brilliant American writers' works are fair game to dismantle to make the directors shine, not the playwrights or their intent. In this case nothing shimmers...This version is neither poetic or expressive, but boring, miscast and missing to what Tennessee Williams intended. I will keep my memory of other productions."
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The Guardian (UK)
March 9th, 2017

"This 'Glass Menagerie' is a cerebral, often surprising deconstruction and reinvestigation of an American classic...At times willfully at odds with the play as written, particularly its stage directions...The theatricality is self-conscious, at times self-congratulatory. It estranges spectators from the characters and the situations – in ways more and less productive – yet still allows much of the language to be heard clearly and anew."
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B
March 9th, 2017

"Director Sam Gold seems to be operating in Ivo van Hove mode, trying too hard to put his own revisionist stamp on a classic. He has chosen to emphasize the comic over the poetic; I have never heard that much laughter at any previous production...Mantello's performance is very strong and dominates the evening...Gold’s take on the play is interesting, but distorts the piece too much for my taste."
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The Wrap
March 9th, 2017

"That first long ascent to the stage pretty much establishes Field’s tortured Amanda Wingfield and, in essence, Gold’s take on 'The Glass Menagerie.' It’s a daring, masterful stroke, and one that redefines the Williams classic, and will influence every 'Menagerie' to come in the next few years...Late in the play, Field lays into Mantello...The moment is so painful that he distances the audience from the actors, turning us into voyeurs who are witnessing something we should not."
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Wolf Entertainment Guide
April 7th, 2017

"Overall Gold has given us more of an in-your-face production in which one has to search for snatches of William’s poetry. His writing is what makes the play so sensitive. In this case the desire to stage it differently undercuts rather than enhances the drama which when well-done shimmers with sensitivity. Still, for those who have never seen 'The Glass Menagerie,' this is a chance to experience it, no matter how flawed the staging."
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T
March 14th, 2017

"The deep affection among the family is here thanks to soulful connections between Joe Mantello’s layered Tom and Sally Field’s somewhat clownish, rage-filled Amanda, the desperate mother. But Gold’s inconsistent, concept-driven direction obscure this bond and Williams’ themes of comforting lies versus harsh reality...It’s understandable that Gold would want to try a startlingly different tack...So a fresh approach is admirable, but why blast away all the poetry?"
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Theater In The Now
March 23rd, 2017

"This reinvention brings some incredible new insights into the text yet also veers, at times, unrecognizably too far...Gold interprets the text a manner that may be confusing but he goes all in with it...The Jim and Laura scene was extraordinary. But it lived in another world from the rest of the play...Despite the flaws of the production, Field gave a dynamic performance...It was a lens that was beautifully unique...Gold made a noble risk that unfortunately didn’t pay off this time."
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Newsday
March 9th, 2017

"Like none we have seen before. The style is not poetic, the edges are not soft nor dreamlike, and the heart-shredding family dynamics are not literally placed in the St. Louis tenement that Williams set in the ’30s. And yet, the unspooling is as true to what Williams called a 'memory play' as any I have known. Consider this the indie version, if you need a label — timelessly contemporary and shot full of raw insight into past and future productions."
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The Huffington Post
March 15th, 2017

"The casting of Mantello is a masterstroke and this production is the best I’ve ever seen...This stripped-down presentation has an emotional truthfulness and clarity that turns the play from a showcase for one actress into a work of drama unburdened by Southern floridness. Like glass held up to the light, it’s shot through with intelligence and nuance and is all the more powerful for it. I’ll be comparing all future productions I see to the memory of this one."
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Daily Beast
March 9th, 2017

"Every immaculately crafted moment of Gold’s staging rings as clear as it does true...Ferris’s brilliant performance anchors the whole show. It shouldn’t be so radical to see a disabled actor so central to a Broadway show, but it is, and Gold makes Ferris’s disability a focus in the most skillful, least patronizing way...In this raw, crisp, and haunting piece of theater, just as Williams intended, there remains for Tom and the other Wingfields just shards."
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Towleroad
March 16th, 2017

“A stripped-down and finely acted production…Field is a marvel to see here. The earnest, doting instincts she brings to Amanda have been a hallmark of her most iconic on-screen roles…Gold’s bare-stage approach puts the focus on fine performances from the central trio...But it’s the play’s emotional turning point, a scene between Laura and her presumed gentleman caller, Jim (here played by Finn Wittrock), that doesn’t quite round the corner to heartbreak."
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NorthJersey.com
March 9th, 2017

"Asking an audience to use its imagination is a good thing, but sometimes there’s a gap too far. Although Mantello gives the evening’s best performance, you never quite accept him as the brother of Laura, who’s in her early 20s...Ultimately, in this production, the woes of the Wingfield family take second place to the experience of watching the bravery and determination of a young actress, and perhaps to ponder the wider difficulty people with disabilities have in being cast."
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Financial Times (UK)
March 10th, 2017

“That sense of quiet, brittle despair is heightened here by Sam Gold’s stripped-back, decontextualised staging…Such a defamiliarising approach to classical theatre is perhaps becoming a little too familiar. And yet its virtues are manifest during the play’s candlelit final scenes, which hum with ghostly intensity…The fact that Ferris herself suffers from muscular dystrophy adds an extra emotional dimension, particularly during the opening moments.”
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WNBC
March 9th, 2017

"Field is not as misty as other Amandas we’ve met. Indeed, she is sharp and declarative in recounting for her kids the gentleman callers who paid her attention in years past. It makes her later delusions all the more resonant...Gold puts his stamp on 'Menagerie' with both hyper-realistic elements and a minimalist set so barren it can only leave us to focus on the actors—the juxtaposition of styles makes this 'Menagerie' as interesting as any I’ve seen."
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Simon SEEZ
March 21st, 2017

“Field unquestionably captures and combines the almost heroic stoicism of the Southern ex-belle...Wittrock is better than good…You may surmise that I am less than impressed with the pretentious minimalism that Gold decided to burden a play that needs to float in a sea of clouds and memories...Presumably it was not Gold’s intention to be disrespectful to this sublime play...Whatever was Gold’s motivation, ‘The Glass Menagerie’ will glow forever in the light of its own eternal flame.”
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T
March 28th, 2017

“Although the casting is curious, Andrew Lieberman’s set can be confusing, and too much of the staging is head-scratching, it mostly works, resulting in a fresh take on Williams’s most intimate and autobiographical play…Many of Gold’s choices go against traditional adaptations…Some of the staging is problematic, including the spectacle that becomes the ‘nice cool rain’ and characters running around the audience…The play withstands such unconventional approaches.”
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DC Metro Theater Arts
March 28th, 2017

"Ms. Field and Joe Mantello are the evening’s prime combatants and their battles are wild. Each of these fine actors manages to show us the rage that runs beneath their surfaces. Both of them bring highly original qualities to these two iconic roles...I don’t agree with all of Mr. Gold’s directorial choices, but I applaud the consistency of his vision, his respect for the material, and the incredible performances he’s helped extract from his quite remarkable cast."
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Out Magazine
March 20th, 2017

"Ferris is an actually disabled actor who painstakingly transports herself around the stage on all fours. It’s poignant to watch, and actually works for the piece because it makes mother Amanda’s delusions about her children seem even more extreme...Field emphasizes Amanda’s hectoring, disapproving tone...With all the new touches, this 'Glass' amazingly comes off fairly straightforward a lot of the time. I found it invigorating at first, before it became dullish, though the ending was strong."
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NJ.com
March 9th, 2017

"One distracting directorial flourish after another, until you're pretty much ready to cry uncle...Beneath the weight of Gold's interpolations, the delicate 'The Glass Menagerie' collapses...Casting Ferris is the one directorial flourish of Gold's that really works...The actress performs with plainspoken grace and heartbreaking vulnerability -- it's a stirring breath of fresh air in a show that otherwise feels conceptualized to its death."
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W
March 11th, 2017

"There's a sharp contrast between the characters' interaction and the giant, nearly empty stage, with the actors lit harshly and wearing contemporary clothing...All this literal-ism pulls the poetry away from Williams' play. There are a few beautiful stage pictures...But the overall effect is as if Gold is just trying out a bunch of ideas...There isn't a cohesive vision. We are left with a play that's been pulled apart and analyzed and seems to be waiting for someone to put it back together."
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Off Script with Dan Dwyer
April 28th, 2017

"The latest production of yet another 'Glass Menagerie' is about as unpoetic as it gets. Sally Field is okay...Joe Mantello is miscast...Finn Wittrock...combines naïve bravado and an adolescent’s sense of empathy that makes the crucial scene with Laura, competently played by Madison Ferris, sting the way it should...But the core problem with this 'Managerie' is how the production is conceived by director Gold...There’s nothing (almost literally) on stage to spark the imagination."
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On Stage Blog
March 20th, 2017

“In Williams’ play, Laura has a limp. Sam Gold decided to visually radicalize the young heroine’s physical condition by casting an actress with muscular dystrophy in a wheelchair, Madison Ferris…This is Ferris’ Broadway debut and she seems right at place next to brilliant Sally Field. Gold masterfully uses the timing and choreography dictated by Ms. Ferris’ physicality...The dance scene between Laura and the 'gentlemen caller' portrays a breathtaking intimacy."
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Village Voice
March 14th, 2017

“Gold's production, stark and stripped nearly bare of decor, sets the hard-fact tone from the start…Gold makes the challenge of squeezing poetry from this cold-eyed context one degree harder by casting Ferris...The casting is one of Gold's two questionable choices…Field's Amanda, curt, careworn, and heartsick at her youngsters' failings, lights up in these later scenes with an eerie inner electricity; the arc of her transformation is this flawed but fascinating production's sturdy spine.”
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StageZine
March 9th, 2017

"It is always a thrill to see Tennessee Williams’ plays revived, but this bare-bones production falls flat in comparison to the excellent John Tiffany-directed version or even the 2004 production. Mr. Gold brings a new spin indeed to the show, but because the set lacks key elements of the show to anchor the story, this 'Glass Menagerie' seems more like a first week’s dress rehearsal than a full-fledged production, lacking the polish needed to make the classic truly shine."
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BSonArts
March 9th, 2017

"Sam Gold’s production is an interesting, if not always successful, rethinking of this classic. In the process, he sheds light on aspects of the play that are rarely as clear in more traditional productions. But he also distorts some qualities that are central to Williams’ style and intent...This is a 'thinking man’s' 'Glass Menagerie' – and the oddity of those two phrases in the same sentence reflects the best and worst of this unusual interpretation of this legendary play."
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Showbiz 411
March 9th, 2017

“A unique, memorable production…What’s so interesting is that not a word of Tennessee Williams’ play has been changed and yet, rethinking Laura this way is a smooth move…Ferris must hold her own with three really great actors...Sally Field is sublime as Amanda Wingfield…Wittrock just lights up the stage…This production is way stripped down…What a thrill to see an old play reinvigorated. And Sally Field–my oh my–we really really like her.”
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T
April 6th, 2017

"Nothing is authentic and the result, despite Sally Field’s gallant performance, is an unconvincing evening that fails to engage with emotional impact. Gold further strips Williams’ masterpiece of every period detail so carefully specified in his text...His meddling here turns the playwright’s dreamlike-meditation into an unrelenting nightmare. The evening comes across as a bare bones dress rehearsal rather than a fully realized staging of the Williams classic."
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Reclining Standards
March 9th, 2017

"Altogether extraordinary, wayward, deconstructed, likely-to-be-polarizing production of 'Glass Menagerie.' Weeks later, I’m still wrapping my mind around it...Much of what happens in this production should, I think, come as a surprise. But I’ll say this—Ferris’ entrance on the stage is one of the most affecting moments I’ve ever seen in a theater...I disagree with most of Sam Gold’s big conceptual ideas—yet I’ve never seen a 'Glass Menagerie' that feels so devastatingly right."
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Z
March 9th, 2017

"Sally Field comes to Broadway in a tour-de-force role, played with a gentle and devastating accuracy. Field appears in what is a most interesting and satisfying production...This latest, very smart rethinking moves 'Menagerie' slightly out of the South and much deeper into the world of family. All family. The result is tender and substantial...If you love great acting, then take the opportunity to see this particular great acting in this particular production."
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On Stage Blog
March 9th, 2017

"I was about to be totally transported and enthralled...I’d never seen a production before where the physical components of Laura ‘s handicap were explored with such nuance...The synergy between the members of this cast was particularly electric...Ferris’ casting proves that physical difference or disability not only should be no bar to the display of talent, but can even bring new life to classic roles...This production will linger in my imagination for a long time."
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