The Glass Menagerie (2017) BROADWAY REVIEWS

Photo: Julieta Cervantes
  • NY TIMES

  • TIME OUT

  • AMNY

  • EW

  • DEADLINE

Opening Night:
March 9, 2017
Closing:
July 2, 2017

Theater: Belasco Theatre / 111 West 44th Street, New York, NY, 10036

Synopsis: 

Two-time Academy Award® winner Sally Field and two-time Tony Award® winner Joe Mantello star in Tennessee Williams’ The Glass Menagerie on Broadway. Also starring Finn Wittrock and Madison Ferris. Tony winner Sam Gold directs.

The Glass Menagerie is the play that brought a brilliant young writer named Tennessee Williams to national attention when it premiered on Broadway in 1945. More than seventy years later, Williams’ most personal work for the stage continues to captivate and overwhelm audiences around the world.

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  • NEW YORK TIMES REVIEW OF The Glass Menagerie (2017)

    Dismantling ‘The Glass Menagerie’

    Ben Brantley

    March 9, 2017: That shattering sound you hear coming from the Belasco Theater is the celebrated director Sam Gold taking a hammer to everything that’s delicate in “The Glass Menagerie.” The jagged, glistening shards of Tennessee Williams’s breakthrough play are available for inspection in the revival that opened on Thursday night.

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  • TIME OUT NEW YORK REVIEW OF The Glass Menagerie (2017)

    The Glass Menagerie gets a modern, minimalist look with Sally Field

    David Cote

    March 9, 2017: “The play is memory,” Tom Wingfield (Joe Mantello) explains at the start of The Glass Menagerie. “Being a memory play, is dimly lighted, it is sentimental, it is not realistic.” What if someone took Tennessee Williams at his word and pushed it to extremes? You would have Sam Gold’s starkly compelling, bravely executed revival at the Belasco Theatre. By the standards of our downtown avant-garde—long influenced by Euro regietheater and the deconstructive antics of the Wooster Group—Gold’s approach is familiar. It’s the 3M Plan: minimal, metatheatrical, modern dress. Still, 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.

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  • AM NEW YORK REVIEW OF The Glass Menagerie (2017)

    Revival shatters Sam Gold’s winning streak

    Matt Windman

    March 9, 2017: The winning streak of Sam Gold, who has become one of the most prominent directors in recent years (“Fun Home,” the plays of Annie Baker), comes to a screeching halt with a misconceived Broadway revival of Tennessee Williams’ 1944 breakout drama “The Glass Menagerie,” led by Sally Field.

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  • ENTERTAINMENT WEEKLY REVIEW OF The Glass Menagerie (2017)

    The Glass Menagerie: EW stage review

    Maya Stanton

    March 9, 2017: The last thing Broadway should need is another revival of The Glass Menagerie. Since the Tennessee Williams classic debuted in 1945, it’s been performed many times in many forms—most recently, just a few years ago with Cherry Jones and Zachary Quinto in the lead roles. But it’s safe to say that audiences have never seen a version quite like this before. With the assistance of a top-notch cast and crew, Tony-winning director Sam Gold (Fun Home) applies an innovative yet back-to-basics take on a 70-year-old standard, and the result is a stunning, emotionally rending production.

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  • DEADLINE REVIEW OF The Glass Menagerie (2017)

    Sally Field Is Gritty In Pink For A Smashing ‘Glass Menagerie’ On Broadway

    Jeremy Gerard

    March 9, 2017: Sally Field‘s citric, unvarnished performance as Amanda Wingfield is so riveting you may find your focus pulled from the larger picture created by Sam Gold‘s shocking revival of The Glass Menagerie, which opened tonight at Broadway’s Belasco Theatre. Stripped bare of the accoutrements of poverty Williams so carefully articulated in the notes for his 1945 “memory play,” Gold (Fun Home) takes more seriously Williams’ prefatory caution that “everyone should know nowadays the unimportance of the photographic in art: that truth, life, or reality is an organic thing which the poetic imagination can represent or suggest, in essence, only through transformation” free of the “exhausted theater of realistic conventions…”

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