“The Theater must always be a safe and special place”

“The Theater must always be a safe and special place” – Donald J.Trump (via. Twitter) 

I type this, as I sit in an LCP seminar discussing this particular quote from the President Elect Donald Trump. This tweet followed the Vice President elect, Mike Pence’s  trip to see Hamilton, where he was booed by the audience, addressed at the end of the production by the cast. Brandon Victor Dixon addressed Pence, after the curtain call, as he tried to make a speedy exit.

“Vice-president elect Pence, I see you walking out, but I hope you will hear us, just a few more moments. There’s nothing to boo here, ladies and gentlemen,We’re all here sharing a story about love. We, sir, are the diverse America who are alarmed and anxious that your new administration will not protect us, our planet, our children, our parents, or defend us and uphold our inalienable rights. We truly hope this show has inspired you to uphold our American values and work on behalf of all of us. All of us.”

Pence reacted, not in anger, but instead asking whether this was appropriate, and called into question the position of Theatre in our society. Is it a place for political debates? Were the cast of Hamilton right to call out Pence in the Theatre?  As much as I dislike Pence, his reaction was commendable. He told his children, that the booing was the sound of freedom and complimented the cast. Trump reacted, oppositely, through his usual media, a rant on Twitter.

“The cast and producers of Hamilton, which I hear is highly overrated, should immediately apologize to Mike Pence for their terrible behavior” -Donald J.Trump (via. Twitter)

“The Theater must always be a safe and special place.The cast of Hamilton was very rude last night to a very good man, Mike Pence. Apologize!” -Donald J.Trump (via. Twitter) 

There are so many things that make me angry about these statements. Firstly that the president elect is so petty, about some one respectfully calling out his administration, with their fears, that he will insult their career and art. Secondly, his definition of a ‘safe space.’ According to Trump, a safe space, in college, to stop women from getting raped and sexually assaulted, is political correctness gone mad, but the minute a middle-aged, straight, white man, is respectfully called out, it’s a necessity. Trump, was not the first person to call the Theatre a safe and special place.

In recent history, Theatre, has been considered a safe, special space, especially for minorities, with many mainstream performances having political roots. The production, that I think of, when discussing this, is RENT. The characters of which are made up of Black, Gay, Straight, Queer, Trans Americans in New York. A story that would have been hard to tell at the time, through other mediums.

Theatre is now used to challenge that norm. Trump wants it to be comfortable, to not invoke change. The statement felt drenched with irony, and made me uncomfortable. Who is he to say, what the theatre, can or can’t be? Broadway has always generally been democratic, rather than republican. Yes, the Theatre is and should be a safe and special place, but his definitions of safe and special, are not ones I agree with. It shouldn’t only be safe for the straight, white man. Which I and many others, think that Trump’s administration will lead to. How dare he use a phrase, so commonly used, in protecting minorities, when his campaign and his policies be so heavily rooted, in racism, bigotry, sexism, homophobia, and everything else.

The other question raised, is, were the cast right to get involved in Politics? Since the dawn of Theatre, it has always been used as a way to inform people, and discuss politics, from Greek Tragedy to Brechtian to Contemporary Theatre. I think the cast, of a show about politics, especially a cast made up of minorities, had a right to an opinion, and using their platform was admirable.  As I said, Broadway has never shied away from it’s democratic tendencies.  Addressing the issues of Trump’s policies, at the end of a show, which glorifies, and rightly so, immigrants, was particularly powerful, and amplified the core aspects of the show. Especially as Trump’s policies tends to target immigrant. I am constantly drawn back to the line ‘Immigrants. We get the job done’, which the reaction, to that showing, according to reports, was very lively.  The cast addressed Pence respectfully, and kindly, better than how Trump treated the cast.

Julius Caesar – Donmar Warehouse

I went to see Julius Caesar, part two, of the Shakespeare Trilogy at the Donmar Warehouse, following The Tempest, yesterday.  Again I got tickets through the Young + Free initiative, which provides 25% of their tickets for free to under 25s. Julius Ceasar is about the rise and fall of the title character, and his betrayer, Brutus.

Again this production was set in a female prison, however it was a far less magical, mythical production, than The Tempest, which I think was very effective in the story it was telling. The theatre in the round aided to make a truly visually and audio immersive production. And the whole tone of the production was great Switching, from comedic, to eerie, to poetically tragic. It had a good pace, and the sound and lighting all aided to the shifts in the tone.

The whole cast were brilliant. I was so excited to see them again, as it is the same cast in The Tempest. Their connection to every audience member, I would have to say, made the production for me. Their interaction, their conviction and the true grittiness of their performance was perfect. There were moments that were just so realistic, you forgot that you were watching a performance in a theatre, you thought you were watching inmates perform Shakespeare, and it just made you really uncomfortable. Especially from Harriet Walter, who was usually the cause of this uncomfortableness. Also Jade Anouka, who played Mark Antony, brought a really playful aspect to the play. My favourite scene had to be the funeral. The rhythmic presentation, aided with the lighting and the rest of the cast, was very empowering and riling.

The production was full of different ideas and conventions, which I loved, individually. However, I felt like there were too many, and none of which, that they were really committed to. It mixed and matched too much.  I loved them all at the time, but in looking back at it, they didn’t seem to follow through in the whole production, and it just left me quite confused.

Overall, it was an amazing cast, and the director produced an extremely immersive and tense production, which was very enjoyable to watch.

Finally, I wanted to say, that I was really glad to go to the theatre yesterday, especially with all that had happened in the U.S. I thought Theatre is the perfect way to escape this, but the thing is, is every performance is influenced by outside events. As much as I tried to forget about Donald Trump, I couldn’t help but see his reflection in Julius Caesar, or at least the Caesar that Brutus paints. The rise and fall of his, and Brutus’ power and the eventual fall of Rome to Octavius, felt like a weird dystopia, that felt familiar, and oddly foreshadowing.

Scrapping GCSE Drama?

First we began with the idea of scrapping A-level History of Art, which as an idea was a travesty, but still went through. However in the aftermath of National Youth Theatre leader, Paul Roseby, suggesting that GCSE Drama is irrelevant, it is now being reconsidered as part of the GCSE syllabus .

Reservations about art subjects as part of academic qualifications have always existed, with some universities not accepting certain arts subjects as part of an application. The suggestion from Roseby, is to integrate theatre into the more academic subjects, I have to question how? And what use is that? The best example of that for me, is English. But I still have to disagree, If my only experience of Theatre were the plays that we studied in English, Shakespeare, Priestly, Tennessee, I would have never come to study Drama at University.

As someone, who studied the Scottish equivalent of GCSE’s,  National Five, I am not sure, if I am outstepping my place discussing this, however, I can say, with a fair amount of certainty, that I would never have come to study Drama at University, if I did not have the access to studying Nat 5 Drama, or the teachers that supported and encouraged everyone’s passions in our school, be it theatrical or otherwise. For me studying Drama at school became such an important aspect of school for me, socially, academically and basically everything else. Without Nat 5, I would have not pursued Drama, it was so important in introducing me to the world of Theatre, and the idea that I could have a career in it, or at least further my studies in it. Without it, I would possibly be studying a degree that I didn’t want to do, or I would be completely lost.  And of course for that, I have to thank my school for having such a fabulous Drama department.

However of course that is not to say the GCSE Drama course is flawless, earlier this year, they dropped the requirement to see a live Theatre performance and analyse it for an assessment, this was replaced by a recording. As good as recordings are, you do not get the same effect, if you are sitting in the audience. I for one, generally think that a good performance will make you feel like a community with the other audience members. You do not get the same atmosphere watching a recording, and it will effect how you analyse a production. And some people, may think the content is irrelevant, or the fact that people see it to be soft or easy, are arguments enough to justify those people thinking it should be scrapped.

It would break my heart, if GCSE Drama was scrapped from the syllabus, people seem to consider it to be a soft subject? I don’t understand this, I think it requires the most of amount of work, from teachers and students alike. If GCSE Drama is scrapped, it would be the beginning of scrapping all drama in schools. Creativity and passion must be nurtured, so it can bloom, not cut at the root.

 

A Night in Miami – Donmar Warehouse

I went to see A Night in Miami on Saturday night at the Donmar Warehouse, through their Young + Free initiative for under 25s, providing 25% of their tickets for free. A Night in Miami, follows a night in a motel in Miami, where Muhammad Ali, Malcom X, Sam Cooke, and Jim Brown had convened. When the world saw them as icons, in this play they were just four friends, celebrating the world heavyweight champion.

 

With the show lasting an hour and a half, without an interval, or set changes, it is not surprising that the show’s success lies within the tension held. Walking into the space, you can already hear cicadas, and planes rumbling overhead, immediately setting the scene. The garish hotel set, oddly spacious, however reminisce of the 60s. The set, had a little cove where, most likely due to where I was sitting, meant the sound was absorbed and difficult to understand. But hey, when the tickets are free, who can complain?

 

With the show set in the height of the Civil Rights movement, the tension in the movement, and within the black community indeed made the show. It was held throughout the performance in the audience and on stage. Every time the tension built, it either bubbled over or there was a break, in the form of the music of Sam Cooke, or a snappy one liner. Creating the perfect tone for the show. This was all aided by the soundscape and the brilliant chemistry between the four actors. The involvement of the audience was a welcome break in the tension, adding electricity in the air, and a humour to the piece, that was different to the repeated one liners. It was a very realistic and poignant glimpse into the civil rights movement. Sope Dirisu, captured the youthful Muhammad Ali, with a playful and spirited energy. Arinzé Kene, Sam Cooke, had a brilliant voice, and his rendition of A Change is Gonna Come, with footage portraying protests from the 60s, all the way to the Black Lives Matter Movement in Missouri, on the cyclorama behind, was a chilling moment – emphasising how much of a problem equality still is. The performance felt far longer than ninety minutes, I think showing the weight of the issues addressed, with an ending flooded with finality.

 

Overall a very important, topical and political performance, to be performed right now, brimming with chilling images, conceived by the directors and actors.  Also an enjoyable play to watch. I loved the script, and ended up buying a copy. I would highly recommend. It is showing at the Donmar until the 3rd of December.

The Libertine

I wanted to write something about the writing of The Libertine. A collective of my favourite lines and monologues, because the writing is truly beautiful. The Libertine is based on the true life of John Wilmot, the earl of Rochester, and his relations with the actress Lizzie Barry. 

Mrs Barry: I want the passionate love of my audience. I want, when I make a sweep of my arm, to carry their hearts away, and when I die that they should sigh for never seeing me again. 

Mrs Barry is asked what she wants from the theatre, and she retorts very passionately, almost in a daze with this line. 

Rochester: I cannot feel in life, I must have others do it for me here

Mrs Barry: You are spoken of as a man with a stomach for life

These lines I feel, don’t need a caption. They are melancholic. 

Rochester: But in the playhouse, every action good or bad has its consequences; drop a handkerchief and it will return to smother you. Outside the playhouse there are for me no crimes and no consequences. 

I liked this bit, because I felt it showed the true tragedy of a man who has lost his love of life, who can do whatever he wishes. It showed the truth of the theatre. Everything has meaning, everything has consequence. 

Rochester: Here in this Theatre we can pretend that our lives have meaning…. The theatre is my soothing drug, and my cynic’s illness is so far advanced that my physic must be of the highest quality. 

This just has so much truth to it. To anyone, theatre people or not. 

Mrs. Barry: You gave a divine talent. And yet you choose to see only what is base and mean. You are one-eyes. You look at humanity and you see the monkey, but you close your eye to the angel. When I am on stage, I give wing to the angel, I let her soar over the rowdy Pit creatures until I have silenced them with the flapping of her wings. That is why they have begun to listen to me. Because they leave the theatre with a larger idea of themselves and they become more noble in their daily lives. You show them to be a scrawny monkey in a shabby coat who shits and mounts its mate and they go on their way meaner. 

This monologue is beautiful, revealing of what truly happens when the audience leaves a theatre. Of the effect Theatre has. 

Rochester: I love theatres. They remind me of ships, great rocking galleons floating into battle. 

Because society and life is a battle. And the theatre is your weapon

Etherege: Love gilds us over and makes us show fine things to each other for a time, but soon the gold wears off and then again the native brass appears. 

Love is nothing but an illusion, designed to lure the human spirit out of it’s hard exterior.

Rochester: I am nature and you are art, let us see how we compare

Art imitates life, and life imitates Art.  

Rochester: When I poured away the last bottle of wine I saw the blood of christ streaming onto the floor and it took all my effort not to throw myself on my face and guzzle. But I desisted and my mind cleared and I made an inventory of my life and found much wanting: injuries to divers people: want of attention to my affairs: a lifetime spitting in the face of God, and I knew I was to be cast down. I had long ago discarded the layer of formal politeness with which we negotiated the world, but now I had to wade through the slough of my licentiousness until I found level ground underfoot, a ground of true sensibility and love of Christ. Now I gaze upon a pinhead and see angels dancing. 

A man faced with losing his vice, and facing the darkest part of his life, begins to see God in his life. A gorgeous monologue, and a perfect ending- not really a spoiler.  Continue reading The Libertine

Father Comes Home From The Wars- Royal Court Theatre

I went to see this on Wednesday night, as a part of my London Culture and Performance class for Uni. This was the first show I saw at The Royal Court, and I was really excited to visit this legendary theatre.

Father Comes Home From The Wars, is a series of short plays, depicting the struggle and horror of a black slave, Hero, living though the civil war, fighting for the confederacy on the request of his master. The first play (Act) is set on the plantation with his family; The second is set in the midst of the action of the civil war, with Hero, his master and a captured Union Captain. The final, is set back on the plantation, Hero’s return to his family, or what is left of it.

The show began, with Blues music playing on the stage from the narrator. It was a very Brechtian production, from the moment you walk in; you are immersed in the environment. The set and stage was very naturalistic, right down to the front of the stalls. Also the use of a platform behind the action was very effective, giving an omnipresent aura to the piece. The interesting thing about the costumes, is that they were not historically accurate, compared to everything else in the piece, they were a mix between old-time and modern clothes.

The writing was the main thing of note. The ensemble worked as a second narrator, and generally spoke rhythmically, which was very effective, complementing the constant blues played by the narrator on the banjo. Every time it got a little dark, or sad, there was comedy to lighten the mood. A lot of the jokes, came straight after or were a part of the blatant cruelty of slaves during this era, which meant is was very uncomfortable to watch, especially to laugh at. The whole show, looks at Hero’s change through everything he’s been through, and managed to relate to social and political issues in our day. The importance of one’s name, what it means to be free, what it means to own yourself. One haunting image, was of Steve Toussaint, Hero, with his hands up telling the Union Captain, that he couldn’t run away, because he would have to tell a patrol that he owned himself ,“You think they gone leave me alone?” Which is an all too common image of our past decade, resonating deeply with police brutality in the U.S.

Toussaint took a moment to get into his character, however showed the development of his character extremely well throughout the three acts. Jimmy Akingbola, Homer, kept the audience involved in the performance, and involved in the characters. Dex Lee, who played part of the ensemble, but also as Artsy, the dog, had energetic and playful body language, speaking fast, excitable, he perfectly encompassed the energy of the dog, and managed to keep the audience on the edge of their seats. His child-like naivety, gave the audience a voice on stage, narrating the sequence of the events as they happened.

The final thing, I have to say, is that I have rarely seen such an audible audience reaction to a show during a performance, showing how invested they were in the characters and in what happened to them. The show was politically relevant and explored deeply into the human psyche from that time, and from our own.

 

The Libertine- Royal Haymarket Theatre

This evening I went to see The Libertine at the Theatre Royal Haymarket. The libertine is a play by Stephen Jeffreys, following the true story of The Earl of Rochester. John Wilmot. It was first performed in the Royal Court, and was now revived with Dominic Cooper playing the title role. The Earl of Rochester was a alcoholic, sex-manic earl, who took a particular interest in the theatre.

The performance began as we entered the Theatre, with characters sitting in the Royal boxes, Harlots selling fruit, and actors amongst the audience in the Dress, and I assume the Upper Circle. Replicating the playhouse in that time, creating a rather authentic atmosphere.

I will mention the acting briefly. The acting was very good. Dominic Cooper seemed very committed, and despite the amount of times he repeated that you would not like his character, you could not help but fall for him a little. Apart from Dominic Cooper, the rest of the cast was brilliant, especially Ophelia Lovibond, who played Lizzie, an actress trained by John Wilmot, and his love interest. The cast was Funny, poignant and emotional. The use of tableaux was very effective in isolating the different issues and characters that were speaking. Also creating several comedic scenes.

However, I don’t particularly want to dwell on the acting, as I think the good acting was ennobled by the amazing writing. There were particular scenes, especially regarding the Theatre, with Cooper and Lovibond, which had me completely lost in the acting, in an almost cathartic sense. The scenes in which Theatre was mentioned was written with such beauty and truth. “But in the playhouse every action, good or bad, has it’s consequences. Drop a handkerchief and it will return to smother you. The theatre is my drug.” There was something so reassuring by it. About the words from the alcoholic earl, talking about how the theatre felt like a ship. The words resonated with me, and had such a sense of poignancy and serendipity. Stephen Jeffreys created this amazing character, who you truly felt sorry for, despite all of his alcoholism, and faults. It was a very funny play, which masked the darkness/seriousness of the play. And this character, who truly hated himself, and hated living, and drunk away his sorrow, with the façade that he could do whatever he wanted. Dominic Cooper managed to portray this very successfully.

It was a very enjoyable performance, political, funny, however funny in a very sad sense- If that makes sense. It left you, with a weird feeling. Joyous, from the comedy, however once the characters and the narrative set in, it was rather emotional.

The Tempest- Donmar Warehouse

On Friday I saw The Tempest, as a part of the Domnar Warehouse Shakespeare trilogy. I managed to get the tickets through the Young+Free initiative, offering free tickets to under 25s. An absolutely fabulous scheme if I must say…. The Tempest, by William Shakespeare, is set on a mythical island, looking at all the Shakespeare classics; forbidden love; betrayal- usually to do with the monarch; weird monsters; and of course a comedic duo. This version was set in an all female prison.

The Performance began, before we had entered the theatre. The guards brought the prisoners through the lobby of the pop-up Theatre into the auditorium, before ushering the audience, and giving them a brief on proper etiquette in a prison.

At the beginning I was slightly dubious of the interpretation. They set the scene in the prison, describing the characters, and then seemed to go on with the story of The Tempest with nothing changed. However as the play progressed, every moment you were drawn into the mythical world of Shakespeare, the show brought you back to reality. By blaring alarms, bringing guards, or even just simple props from a prison. And they tied it all up perfectly at the end, with a moment of nostalgia and almost sadness for Prospero.

The show was staged in the round, with iron fencing enclosing the audience in. For the storm, they had several prisoners banging on the fencing behind the audience. The storm was a truly immersive experience. You could feel the chairs vibrating underneath you. The sound and music was spectacular. The whole performance was quite immersive, and very spectacular, a feast for the eyes and ears.

The acting was very intense, being so close to the action, had me on the edge of my seat. Jade Anouka, Ariel, was amazing. There was the genius idea to have the spirits rap, which make perfect sense and worked so well, adding a very urban and modern tone to the piece. She played Ariel, so well, as a mischievous, loving and fun spirit. Leah Harvey, Miranda, and Harriet Walter, Prospero were also very good. Prospero who took on the role of the mother, but also in charge, in this female prison.

Finally, it was a very intense performance and I am so happy it exists. Presenting Shakespeare as it should be, in a modern setting, tackling social issues in our today. I’m very glad I got to see it.

Aladdin – Prince Edward Theatre

I went to see Aladdin Tonight at the Prince Edward in Theatre, to relive one of my favourite childhood films. Aladdin is of course, the Disney film transported to stage. This is the Broadway production, transferred to the West End Stage.

At first, it took a little while to get into it. The first section of it was slightly slow, in contrast to the ending, which was too fast and almost anti-climatic. Let’s say at the start, I could see why it might have been classed as four-star production instead of five. I was also worried that it was almost pantomime-like. Don’t get me wrong, I love pantomime, just not when I’ve paid to see a musical. However it completely picked up, after about the first 20 minutes of the first act. The first thing to note, of course is the set, it started with a silhouette of Agrabah, lifting up to reveal a woven pattern of various cloths, fabrics and ribbons, capturing the beauty and the chaos of an Arabian market. This was complement by the costumes. The costumes were fabulous, I know I use this word a lot, but they were. Gregg Barnes, the costume designer, has outdone himself. Some of the most spectacular costumes I have ever seen. In speaking to the cast, they said they had a world record for the most costume changes in one song. Prince Ali, had some of the best costumes and props, an almost Lion King-esque style. Along with the lighting, displaying traditional Arabic patterns across the floor, these all added up to an immersive, and sensational performance. A Whole New World, a theatrical triumph. Stars strewn across the stage, tabs, and the frame of the theatre. I, for the life of me cannot work out how they got the carpet to fly, a stunning scene.

Onto the cast, at the beginning, I found Dean John Wilson, Aladdin, slightly mechanical in his acting, however I think I could put that down to the fact that Aladdin was never a really strong, or boisterous character. Also in the second act, he had picked up and was absolutely brilliant. Proud of your boy is becoming one of my favourite songs; his voice was innocent and beautiful. The same goes for Jade Ewen, who played Jasmine. The main actor of note is of course, Trevor Dion Nicholas, Genie. This actor is the original Genie from Broadway, which at first I didn’t realise, he was full of life, joy and had so much character that it filled the whole theatre. The whole character of the genie was perfect, saturating the performance with British pop culture references, such as Strictly come dancing. All the different Disney musical cameos made me longing for my childhood, and a marathon of all of Walt’s classics..  I was so lucky to see Dion Nicholas, and I would say that he did Robin Williams proud. The involvement with the audience was a good balance, mainly from Dion Nicholas, not too much, but just enough to keep the audience engaged, and immersed in the production.

The whole cast had very good voices and the music was so jazzy and fun. The numbers were huge, in any other musical I would have thought it excessive, but it fitted perfectly in Aladdin.There were also moments were the music created an aura of serendipity, showing a nice contrast. At the beginning, I disliked how slapstick and childish it was, however I forgot it was a family musical, and once I embraced that, all the magic and child-like innocence from Disney was brought to life in front of my very eyes. It was colourful, fun and magical. Overall an absolutely stunning performance. And to finish this, I ask, if you had three wishes (No wishing for more wishes, bringing people back from the dead, or making people fall in love.) What would you wish?

The Glass Menagerie.

It’s amazing the difference between studying a piece of theatre and watching it being performed. I understand why people hate theatre when they’ve studied it at school. I disliked The Glass Menagerie by Tennessee Williams ever since I studied. I found it boring and pointless, and I hated the characters. I completely disregarded seeing it, and how different it would be performed.

I saw The Glass Menagerie today as part of The Edinburgh International Festival. The first thing to mention about the production is the set. The set has to be one of the best sets I have ever seen. It reminded me of a concept of a set that was too ambitious to pull off. It consisted of two octagons, creating a parlour and dining room with a balcony. This was surrounded in water, creating a reflective night sky, suspending the set in water. In time like a menagerie, creating a closed capsule. Suspending the set and all the action in it. This was all aided by the lighting, a light haziness flooding the set, making the play feel like a memory. Along with the score. The Score was gorgeous. The Score was beautiful, absolutely made the show. It gave an aura of serendipity, and framed the whole action.

The Acting, and direction was fabulous. Michael Esper, Tom, was brilliant, his narration was a needed element, with his movements and body language, slipping in and out of time, was amazing. His chemistry with Cherry Jones, The Mother, was perfect, humanising this character that I once hated. Seth Numrich, Jim, and Kate O’Flynn, Laura, had really good chemistry as well, the scene with them alone in the parlour was lovely. The characters developed really well together, and frankly it was just cute. I remembered why I disliked The Glass Menagerie, when I was watching that scene. I dislike Laura and Jim’s characters. I thought Laura was too weak, and Jim was full of himself, but I realised throughout that scene they developed, and they developed each other. They way they were portrayed, it changed my mind about them. I like to think Laura developed for the better after her interaction with Jim, the ending is slightly ambiguous about that, if not more pessimistic. I think this is shown with the unicorn breaking. Laura threw the horn into the water, and created a ripple effect. A beautiful metaphor. The moments of dance and physical theatre, isolated with the use of the lighting showed so much underneath the narrative. It showed the true beauty of the characters and the fragility of the Laura.

The most beautiful scenes had to be with the moon and the lights in the water. Shining, with the reflection of the characters. It was gorgeous, the stars and the moon, creating an image of hope, shining in reflection. Coupled with the music, it had this amazing feel to it. Using the menagerie and the moon as symbols and metaphors, with the Tennessee Williams usual imagery of the American Dream, just out of reach. The suspension of time in the production, having it all in about real time, and was wonderfully aided by Toms extraction from the story.

The whole production was very cleverly done, and I am so glad I had the chance to see it. Seeing it performed truly brought the show to life, bringing comedy to the mundane, meaning to the meaningless. It changed my opinion on The Glass Menagerie. It’s still not my favourite show, but it was very beautifully portrayed. There was something so poignant, about these seemingly mundane characters, portrayed so poetically, showing that they were so damaged.