Cappies Review: The New School Stages Heartfelt 'The Glass Menagerie'

By Asha Das
Thomas Jefferson High School for Science and Technology

FAIRFAX CITY, VA — Welcome to a world of little glass animals and truth in the pleasant disguise of illusion. The New School's production of "The Glass Menagerie" was a meaningful and honest memory play that highlights the flaws that make everyone human.

First produced in Chicago in 1944, "The Glass Menagerie" tells the story of the Wingfield family: loving but suffocating mother Amanda, anxious and shy sister Laura, and ambitious narrator Tom, who yearns to escape the confinement of their lives. The poetic and reflective play catapulted playwright Tennessee Williams to fame, leading him on to become one of the most influential American playwrights of the 20th century.

Mia Morgan shone as Amanda Wingfield, a devoted mother who longed for her youth. While reminiscing about her long-lost golden days as a gorgeous young woman in Blue Mountain, Morgan conveyed Amanda's nostalgia through her wistful tone and bittersweet smiles. Morgan's proper posture and impeccable southern accent perfectly fit the character's sophistication and poise.

Throughout the dinner party scenes, Morgan showed Amanda's fragile emotional state gradually crumble through her trembling voice as she struggled to keep herself together amidst the chaos. Morgan also demonstrated an astonishing range in Amanda's final fight with Tom. Her raw, heartbreaking rage as she accused Tom of wanting to leave revealed the depth of Amanda's pain.

Emily Ocasio's stunning portrayal of the timid Laura, characterized by her nervous stuttering and awkward manner, indicated the character's debilitating social anxiety. Even when she wasn't speaking, Ocasio employed anxious mannerisms such as twisting her fingers or tugging her hair to show the manifestation of Laura's constant stress and worry. Ocasio's wide-eyed fascination with Laura's collection of tiny glass figurines made the character endearing and sympathetic.

Ocasio's performance was complemented by that of Noah Freedman's Jim O'Connor. Freedman's confidence and composure as the gentleman caller starkly contrasted with Ocasio's shyness, creating an entertaining tension between the two characters during their romance scenes. As the two danced together, Freedman and Ocasio conveyed how Jim pushed Laura outside of her comfort zone through their movements. Ocasio as Laura was awkward and clumsy at first, but Freedman's Jim stayed strong and steady as he guided her through the dance until they fell into a perfect rhythm.

Over the course of their scene together, Ocasio slowly opened, showing Laura's growing comfort with Jim through earnest facial expressions. When Jim finally revealed the truth that he was engaged, Ocasio portrayed Laura's feelings of betrayal by closing herself off once again, her heartbroken expression communicating the depth of her devastation without saying a word.

Sets by Nguyen Dang and Jonas Walker provided the perfect backdrop of a small 1930s apartment. The small, confined set created a claustrophobic feel, reflecting Tom's feelings of being trapped.

A portrait of the absent Mr. Wingfield loomed over the set with a haughty smirk, casting an ominous shadow over the entire production and setting the tone for the show. The painting also helped draw parallels between Tom and his father. Spotlights shone on both Tom and the portrait in critical moments as Tom made the decision to leave his family.

Hair and makeup design by Libby Miller was particularly effective in Tom's 1930s style slicked back hair and his stubble, which reflected his lack of care about his looks.

The New School revitalized a classic play with compelling characters, talented acting, and detailed tech elements to create a heartfelt and moving production.