0°C | Tuesday April 29, 2025 
27 March 2025
By James Mullan
The cast, director and crew from the Ensemble Theatre masterfully breathe life into a classic US post-WW1 piece: The Glass Menagerie. It is not a contemporary take, rather a remarkable depiction of Tennessee Williams’ classic. Despite the historical setting, the production explores themes that are all too familiar in contemporary society—family turbulence, the mundanity of work, optimism versus pessimism, the frailty of nostalgia, femininity and masculinity.
The stage is set by Tom Wingfield, played by the captivating Danny Ball. The audience is immediately subdued by his charming Southern accent, which Ball executes sensationally. The ongoing narration fits in seamlessly, drawing the audience into a dream-like state—after all, the play is meant to be a reflection of the life of playwright Tennessee Williams.
With the illumination of the stage, the audience is introduced to Tom, a lost young man stuck in a dead-end warehouse job with few prospects. He also carries the burden of being the patriarch of his family after their father abandons them.
The peace is short-lived with the arrival of matriarch Amanda Wingfield, masterfully portrayed by Blazey Best. From her first second on stage, Best has the audience in the palm of her hand with a captivating, funny and empathy-inducing portrayal of a tragic Southern belle who feels the best part of her life is behind her.
Best’s ability to evoke not just the accent of the South but also the mannerisms and personification of the era is remarkable.
As Tom and Amanda bicker, it becomes evident there is tension in the family—high expectations from a mother wanting the best for her children, or perhaps a son fed up with his mother’s overbearing nature.
We are then introduced to Tom and Amanda’s daughter, Laura Wingfield. Bridie McKim gives a breathtaking performance. Laura is a character who struggles with a physical disability as well as a shy, trapped persona and a lack of confidence. McKim’s stage presence is subtle but mesmerising; every little mannerism is perfect, never breaking character and maintaining the sense of innocence mixed with anxious discomfort. Her facial expressions, walk and movement capture the character with great skill.
All three Wingfields have a tragic presence, even with all the possibilities and opportunities present in post-WW1, Great Depression-era USA.
Tom appears perpetually dissatisfied, seeking escape at every turn. Amanda longs to return to a past where she had “17 gentlemen callers” lined up to woo her. Laura is internally and externally trapped, overwhelmed by the world, finding solace only in her glass menagerie and vinyl records.
The story takes place in the Wingfields’ house, which is a striking yet simply designed set. Set and costume designer Grace Deacon creates a masterpiece—an impressionistic take on the home.
On one hand, there are traditional, nostalgic elements: wooden furniture, an old wind-up vinyl player, a simple wooden table, and a fire escape that adds levels to the stage.
Strikingly, on the other hand, the portrait of the family’s runaway father is burnt into the back wall—just as he is burnt into the personalities and memories of the family he left behind. The wallpaper melts onto the set, creating an almost carpet-like effect beneath the living room table.
Yet another iconic Ensemble set—something we’ve come to expect from one of Sydney’s favourite playhouses.
Deacon also does an amazing job capturing the essence of the characters, ensuring every costume element is appropriate to the period, region and class.
In the second act, Jim O’Connor makes his first appearance, played by the extremely talented Tom Rodgers. This is Rodgers’ first professional, paid production and debut at the Ensemble. There is no doubt this is the first of many to come, just the early days of a successful career on stage.
Jim, unlike the other characters, is full of life and confidence. Although his life hasn’t gone according to plan—much like the Wingfields—he remains optimistic about the future. Jim is invited to the Wingfield house as a ploy to set him up with Laura.
Although at first it appears Jim and Laura have nothing to offer each other, things take an interesting turn. The chemistry between Rodgers and McKim on stage is beautiful; both actors contrast each other’s energies and presence to give a performance that leaves the audience entranced.
Rodgers is also to be commended for his impeccable accent. Unlike the other characters, Jim comes from a Midwestern background, which the young actor captures perfectly, adapting his voice to reflect the accent of that time and place.
The Sun interviews Rodgers prior to the production and is blown away by his transformation on stage—another testament to Deacon’s costume work.
Linda Nichols-Gidley also deserves enormous credit as dialect coach for this production.
To find out how the story ends—and how the characters’ interactions unfold—you’ll have to get tickets to see it at the Ensemble.
It is no easy task to bring the writings of a legendary author like Tennessee Williams to life; however, under the leadership of director Liesel Badorrek, they have not only pulled it off—they have triumphed. Badorrek draws incredible performances from all four actors while weaving them into a subtle yet rich blend of set, costume and lighting. Her pacing and staging contribute immensely to the depth of the experience.
Finally, accolades are due to lighting designer Verity Hampson. From candlelight to the illumination of the glass menagerie and stage-level lighting that creates powerful shadow imagery, she brings the stage to life in an otherwise bland setting.
Sharon, an Ensemble regular, writes to The Sun, remarking: “The Glass Menagerie was superb, eloquent, moving with a honey-voiced narrator. A sad story, portrayed gently.” She was one of many on their feet for the standing ovation and thunderous applause on opening night.
If you have the chance to catch this production, you simply must. A quick journey to Great Depression-era America evokes a strong reflection on contemporary society and timeless human struggles.
The Glass Menagerie runs from 21 March 2025 to 26 April 2025, with tickets available at www.ensemble.com.au/shows/the-glass-menagerie.