The Glass Menagerie at Theater Latté Da Brilliantly Blends Classic with Tech Adding Immediacy to Memory

Tennessee Williams’ The Glass Menagerie is a classic of the American stage. When the term “classic” is applied to a work, sometimes it simply means old, and sometimes it means that it has stood the test of time. That is certainly the case with The Glass Menagerie, at least in regard to Theater Latté Da’s latest production, which is brilliantly directed by Artistic Director Justin Lucero.

By now, Lucero has completely erased any fears that may have arisen after the departure of Peter Rothstein about Theater Latté Da’s future. His direction is complex and detailed, reinforcing the themes of the play and creating a sense of emotional immediacy through what may be the most effective dramatic use of video technology I’ve ever seen in a theatrical production.

The tremendous cast is led by Stages of MN favorite Dustin Bronson, who pulls double duty as both Tom, the narrator, and as the production’s cinematographer. I’m aware that sentence requires an explanation, and one is forthcoming. What might feel like a gimmick to some is, in fact, deeply rooted in the play’s structure. The Glass Menagerie is a memory play, and these are Tom’s memories. Tom’s passion, aside from writing, was the movies, so it makes sense that his recollections would play out as projected images, memories visible on the screen of his mind’s eye.

Bronson opens the play addressing both the audience and the camera. At other times, he films other characters as they perform their scenes, allowing us to see the action from our seats as well as from the camera’s point of view. He also occasionally points the camera offstage to illustrate lines of dialogue, whether referencing audiences in movie theaters or the mirrored ball at the dance hall across the street.

What is truly remarkable is the precision of the framing in each use of the camera and in the projections designed by Adam J. Thompson. The amount of rehearsal required to ensure flawless execution must have been intense, especially when combined with Bronson’s demanding character work. Both were carried out impeccably.

The first act is largely dominated by the relationship between Tom and his mother Amanda, played by Nora Long, with sister Laura, portrayed by Amy Eckberg, taking on a more passive role. Laura is often more the subject of the scenes than an active participant in them. In the second act, with the introduction of Jim, she initially remains sidelined, incapacitated by her extreme anxiety. However, she comes to the forefront in the second half of the act.

Sound design and original music are by Katherine Horowitz, with cast member Brandon Brooks—who plays Jim, the gentleman caller—providing a live soundscape. Using a variety of glass music instruments, Brooks creates an evocative auditory environment. It is another high-wire act, perhaps more forgiving if something goes awry, but no less impressive. Brooks executes it perfectly, and his soundscape is matched only by his engaging performance.

The Act II scenes between Jim and Laura give us a glimpse of what might have been, as he gently draws her into conversation and even into a dance. Their interplay unfolds with natural ease, culminating in moments of tenderness and pain that illustrate how hope can be as fragile as one of the pieces in Laura’s glass menagerie.

The Glass Menagerie is a compelling drama brought to life by a brilliant cast in an exquisitely designed and executed production under the masterful direction of Justin Lucero. If you’ve never seen this classic play, I can’t imagine a better production to experience. And if you’re interested in film or the technical aspects of theatre, this is a shining example of how the two can be married, not as a gimmick, but in service of the story.

It’s a stunning piece of theater that works on every level.The Glass Menagerie runs through March 1 at Theater Latté Da. For more information and to purchase tickets, visit:
https://www.latteda.org/glass-menagerie

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