By D. A. Blackburn
The administrators at Lansing's BoarsHead Theater know how to capitalize when they find a winning formula, and their latest production, "The Glass Menagerie" by Tennessee Williams, is proof positive.
Taking a cue from last season's smash success "Mrs. Warren's Profession," which starred mother-and-daughter duo Paula Prentiss and Prentiss Benjamin, this latest production shows that lightning can strike the same theater twice – only this time with Prentiss and her son Ross Benjamin.
But it's not just parallel casting – of stars with significant name recognition – that makes up this recipe.
Like "Profession," "Menagerie" is a roundly satisfying production of a classic work; it's elegantly mounted, smartly directed and delivered by an engaging, talented ensemble. And for those who saw last season's gem, "Menagerie" is every bit as good a show.
The first critical success of Williams' storied career, "The Glass Menagerie" is a subtle, but heart-wrenching tale about family. Tom Wingfield (Benjamin) is unhappy with the hand life has dealt him: a mundane job, and a mother and sister to provide for. He longs for adventure, but his mother Amanda (Prentiss) demands he first ensure a stable future for his shy, disabled sister Laura (Charlyn Swarthout), who is lost in an imaginary world of cut glass figurines. A suitor (Daryl Thompson) must be found.
Williams' writing – even in this early work – is simply superb, and in the hands of this talented ensemble, it's delivered with a graceful purity.
Benjamin, whose character frames the work with a series of narrative monologues, is perhaps the prime example, allowing the lyrical quality of the script to shine with a balanced, emotive performance.
Prentiss' Amanda feels entirely natural for the same reason. It's a role that could easily be over-acted, but Prentiss, the consummate professional, lets the script do the heavy lifting, without ever feeling recitative.
Swarthout, who recently earned high marks in another Williams' play, the Purple Rose Theatre's "A Streetcar Named Desire," proves once again that she's well-suited to this type of weighty, dramatic theater. As Laura – "Menagerie's" most difficult role – she is exceedingly poised, developing her character with the type of subtle touches necessary for a credible performance. Thompson, too, makes a good showing.
The technical aspects of the BoarsHead's production can only be described as elegant. Tim Stapleton's set is attractive and laid out with a thoughtful attention to detail. Michael Beyer's lighting is exceptional, and coupled with a sound design and original music by Sergei Kvitko, gives the work a warm, dreamy tone – perfectly embodying the term "memory play" which Williams used to describe "Menagerie."
John Neville-Andrews' direction is firmly in touch with the emotional currents and themes at play in "Menagerie," and the result is a potent, no-nonsense interpretation of a true American classic.
The BoarsHead has hit the mark once again, and this second Prentiss/Benjamin family collaboration leaves me hoping the company will remember this winning formula in seasons to come. Perhaps the whole family can take the stage in some future endeavor.
REVIEW:
'The Glass Menagerie'
BoarsHead Theater, 425 S. Grand Ave., Lansing. Wednesday-Sunday through May 31. $12-$30. 517-484-7805. http://www.boarshead.org
