WELCOME
Welcome to this performance of The Glass Menagerie. First presented in 1944, Tennessee Williams’ iconic family drama is, at its heart, a memory play, written with the intention of dispelling naturalistic ‘kitchen sink’ or ‘plastic’ theatre, and creating a new kind of theatrical experience that used new staging techniques to appeal to the audiences’ imagination. Williams intended his play to be presented with “unusual freedom of convention” – his aim was to reach a closer depiction of the truth. As Tom explicitly states in his opening speech, he is “the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion”. While The Glass Menagerie is framed by Tom’s memory, it also explores the power of solitude and guilt, the lure of nostalgia, and the need for resilience during a time of depression and impending change. Williams’ story is undoubtedly semi-autobiographical, and it is this that haunts almost every scene with a sadness and an underlying ‘truth’ that earns this play its rightful place as one of the greatest in the English language.
Jemima Levick Director
The Glass Menagerie by Tennesse Williams 2014 Cast Amanda Wingfield Jim O’Connor Laura Wingfield Tom Wingfield
Irene Macdougall Thomas Cotran Millie Turner Robbie Jack
Creatives Director Assistant Director Designer LX Designer Choreographer Voice and Dialect Coach DSM on the Book
Jemima Levick Rosy Duncan Alex Lowde Mark Doubleday Joan Cleville Ros Steen Lesley Neilson
Music Composer Piano Clarinet Cello
RJ McConnell Jon Beales Philip Alexander Robin Mason
P
laywright Tennessee Williams was born Thomas Lanier Williams in Columbus, Mississippi in 1911, the second child of Edwina and Cornelius Coffin Williams.
W
illiams endured a troubled childhood, suffering through a chronic illness and a demanding and abusive father — a travelling shoe salesman who was often absent for long stretches. When Williams’ father uprooted the family from their provincial home to settle in urban St. Louis, Williams’ mother struggled to adapt, having spent her adolescence as the kind of pampered southern belle that would later inspire the character of Amanda Wingfield. This dysfunctional household took a toll on both Williams and his sister Rose, and Rose’s introversion and subsequent decline into mental illness came to form the basis for Laura’s character in The Glass Menagerie.
W
illiams found a means of escape in his writing, and in 1929 he enrolled at the University of Missouri to study journalism. However, he was soon withdrawn from the course when his father discovered Williams had failed a military training exam, and he was instructed to take a position as a sales clerk with a shoe company. Williams hated the position and became deeply depressed. He found solace by writing poems and short stories at night after work, but the combination of depression and overwork ultimately led to a nervous breakdown. While recuperating in Memphis he resolved to return to writing and he finally resumed college, graduating from the University of Iowa in 1938.
A
t the age of 28, Williams sought a new life in New Orleans and adopted a new name — Tennessee. Invigorated by his surroundings, he became a prolific writer, and in 1940 he received a Rockefeller fellowship for his play
Battle of Angels. This was later revised into the more successful Orpheus Descending, and the resulting attention landed him a position with MGM as a screenwriter. However, the stage was never far from his mind. In 1944, after years of redrafts, Williams finally staged what would be his first major success and his most enduring play, The Glass Menagerie.
T
his success was followed by a string of iconic productions including A Streetcar Named Desire (1947), Cat on a Hot Tin Roof (1955) Baby Doll (1956) and Sweet Bird of Youth (1959). But the shock of sudden fame was difficult for Williams. He continued to suffer from depression and he remained anxious that he might share his sister’s susceptibility to schizophrenia. His work often faced criticism for its willingness to tackle the tensions aroused by sexual ambivalence and denial, and Williams himself was unable to be open about his sexuality for much of his career. In the 1960s he became increasingly dependent on drugs, and the problem escalated severely following the death of his partner Frank Merlo from lung cancer.
W
illiams died in 1983, reportedly having choked on the lid of one of his pill bottles. However, he endures as one of America’s most consistently successful and frequently revived playwrights, and his work continues to be a major influence on much of contemporary writing.
Robert Jack Tom Wingfield Robert trained at RSAMD in Glasgow. Theatre credits have included: And Then There Were None (Dundee Rep), Pressure (Royal Lyceum/Chichester Festival Theatre), Black Watch, Elgin Macbeth and Home [Caithness] (National Theatre of Scotland), Stones in his Pockets (Tron Theatre), Interiors & A Brief History of Time (Vanishing Point), Slick [Fringe First winner 2008] (Vox Motus/ Tron), The Trouble with Double, Trouble and Shame, Serov’s People, The End of Hope The End of Desire, Heaven, The Seagull, What the Animals Say & Videotape (Oran Mor), White Rose (Firebrand), Death of a Salesman & Tam O Shanter (Perth Theatre), Walden (Magnetic North), Jason & the Argonauts (Visible Fictions), Boiling a Frog (7:84 Theatre Company), Merchant of Venice (Edinburgh Lyceum). T.V. credits include: Gary: Tank Commander 1,2 & 3 (Comedy Unit) and Whiteout (Constantin TV). Radio credits include: Gillespie and I, Rio, Strummer and Me, Call of the Wild, Rough Magik, Trouble & Shame, The Three Threads, Meryl the Mounted, In a Land Far Away, The Watergaw, The Stranger at the Palazzo D’oro and Uncle Varick for BBC Radio.
Irene Macdougall Amanda Wingfield Irene has been an ensemble actor with Dundee Rep for fourteen years. In that time she has performed in over seventy productions. These include Woman in Mind (Muriel), Hecuba (Hecuba), Time and the Conways (Mrs. Conway), The Tempest (Prospero), The Rise and Fall of Little Voice (Mari Hoff), Talking Heads (actor and director), Equus (Hester), The Elephant Man (Madge Kendal), Cherry Orchard (Ranyevskaya), Who’s Afraid of Virginia Woolf (Martha) (Winner of CATS 2009 Best Actress Award), Les Parents Terrible (Leonie), Sweet Bird of Youth (Princess Kosmonopolis), The Graduate (Mrs. Robinson), Midsummer Night’s Dream (Titania), A Lie of the Mind (Meg), Scenes from an Execution (Critic), Macbeth (Lady Macbeth), The Duchess of Malfi (Duchess of Malfi), The Seagull (Arkadina). Last year Irene directed Whisky Galore, and later this year will be directing four short Tennessee Williams plays. Irene has worked extensively in theatre, radio and television and is a founder member of the acclaimed Stellar Quines company.
Millie Turner Laura Wingfield Millie gained her BA Acting at the Royal Conservatoire of Scotland 2011–2014. Her theatre credits include: Notes from the Underground (Visiting Company, Citizens Theatre, Director Debbie Hannan, 2013), #sleeptightbobbycairns (One Woman Show, Enormous Yes, Tron Theatre, Director Rob Jones, 2013), Madness (Spoleto56 Festival dei 2Mondi, Director Lorenzo Salveti, 2013), Indulge/Yesterday (Theatre Uncut, Traverse Theatre, Directors Andrew McGregor/Emily Reutlinger, 2012). Credits whilst training include: The Beaux Stratagem, The Comedy of Errors,Vassa, Cat on a Hot Tin Roof and Oleanna. Film/TV credits: Blackout (Channel 4, 2013), The Students of Springfield Street (Lead, Futuristfilm, 2013), Mirrored (Lead, Short Film, 2012). Millie is on the Dundee Rep Ensemble Graduate Scheme 2014–15.
Thomas Cotran Jim O’Connor Thomas is an actor from Huddersfield, West Yorkshire and is a recent graduate from the BA Musical Theatre course, at The Royal Conservatoire of Scotland. Recent credits whilst in training include; A Man of No Importance. Legally Blonde, Betty Blue Eyes, and The Who’s: Tommy! Other theatre credits include: Freakshow at The Actors Church, Covent Garden and Camden Roundhouse; Sleeping Beauty at the Citizens Theatre; King John at the Oran Mor and Creatures of the New Domain at the On The Verge festival. Thomas is very excited to be working with the Dundee Rep Ensemble and looks forward to the experience he will gain here. Thomas is on the Dundee Rep Ensemble Graduate Scheme 2014–15, kindly supported by The Robertson Trust.
CREATIVES Jemima Levick Director
Alex Lowde Designer
Jemima is joint Artistic Director of Dundee Rep. Since joining the company, she has directed Time and the Conways (a co-production with the Royal Lyceum Theatre), The Snow Queen, She Town, The Tempest, Steel Magnolias, Risk, Baby Baby, Anna Karenina, St Catherine’s Day (a co-production with Oran Mor), The Rise and Fall of Little Voice, Sleeping Beauty, A Doll’s House, The Elves and the Shoemakers, Equus and The Elephant Man (winner CATS Award for Best Director, Best Actor and Best Design). Prior to this as a visiting director, she directed Beauty and the Beast (winner CATS Award for Best Design).
Alex Lowde studied theatre design at Motley and Drama at Hull University.
Other directing credits include Peter Pan, The Glass Menagerie and for the Royal Lyceum, Edinburgh; My Romantic History and The Ducky for Borderline Theatre Company, co-directed Transform: Fife for the National Theatre of Scotland, Baby Baby for Stellar Quines, Shetland Arts and Perissology; Paines Plough’s Ravenhill for Breakfast; Moonwalking, Killing Brando, Elf Analysis and The Date for the Oran Mor; and Hambledog and the Hopping Clogs for Perissology.
Designs include Krapp’s Last Tape (Sheffield Crucible), Enjoy (WYP), The Body of an American (The Gate), Edward II (Costume) (National Theatre), A Christmas Carol and The Marriage of Figaro (Edinburgh Lyceum), Taking Over the Asylum (Glasgow Citizens and Edinburgh Lyceum), Innocence (Scottish Dance Theatre), Carousel (Royal Conservatoire of Scotland), She Town, Anna Karenina, Sleeping Beauty, A Doll’s House, Equus and The Elephant Man (Critics Awards for Theatre in Scotland Best Design/TMA nomination), Beauty and the Beast (CATS Award Best Design) (Dundee Rep), Blake Diptych (Laban), Victoria Station/ One for the Road (The Print Room and Young Vic), Tobias and the Angel (The Young Vic), A Clockwork Orange (Stratford East), While You Lie (Traverse), The Lion’s Face, The Nose (The Opera Group), The Adventures of Mr Broucek (Opera North and ScottishOpera), Paradise Moscow (Royal Academy of Music), The Gentle Giant (ROH2), Le Nozze di Figaro (Sadler’s Wells), Angelic to Alnwick and Romeo and Juliet (costume) Newcastle Playhouse.
RJ McConnell Composer
Mark Doubleday Lighting Designer
RJ trained at The School of Audio Engineering and Queen Margaret University College where he specialised in sound. He has created music and soundscapes for numerous theatre productions including Victoria and She Town for Dundee Rep, Ghost Town for Pilot Theatre, the award-winning Force Of Nature, Absorb and Flow for The Enchanted Forest, Crazy Gary’s Mobile Disco, The Allotment, The Tenement and Running On The Cracks for Tron Theatre, Inferno and Dead Man’s Cell Phone for The Arches, End Game, Marat/Sade and One Hour Before Sunrise for Theatre Workshop, and several productions from the 2005 – 2010 programmes at Pitlochry Festival Theatre including Hamlet, Nana, A Woman Of No Importance, The Prime Of Miss Jean Brodie and The Life Of Stuff.
Mark trained at the London Academy of Music and Dramatic Art where he won the Richard Pilbrow Prize.
RJ is also an associate lecturer at the Edinburgh Lighting and Sound School. RJ McConnell iamsound.com
Opera: Le Nozze di Figaro, Los Angeles Opera; Hansel and Gretel, Scottish Opera; Tannhäuser, Teatro Real, Madrid; Kaspar Hauser, Le Nozze di Figaro, Albert Herring, RSAMD; Pirates of Penzance, Iolanthe, Mikado, Carl Rosa/Raymond Gubbay/Gielgud Theatre; Die Schuldigkeit des Ersten Gebots Wilton’s Music Hall; Tannhäuser, Los Angeles Opera; Lysistrata, New York City Opera/Houston Grand Opera; La Vie Parisienne, D’Oyly Carte; Die Fledermaus, Orlando Finto Pazzo, Shorts, Six-Pack, Family Matters, Tête à Tête; Le Nozze di Figaro, Opera Zuid, Netherlands; Manon, Die Fledermaus, English Touring Opera; Ariadne auf Naxos, Albert Herring, Aldeburgh. Recent London Theatre: Democracy, Old Vic; Little Platoons and The Knowledge, Bush Theatre; Salad Days, Riverside Studios; Kurt & Sid, Trafalgar Studios; Family Man, Theatre Royal, Stratford East; Fast Labour, West Yorkshire Playhouse/Hampstead Theatre; Elling, Trafalgar Studios; Recent Regional Theatre includes: Time and the Conways, Royal Lyceum, Edinburgh/ Dundee Rep (jointly nominated for Scottish Critics Award); A Christmas Carol, Birmingham Rep; Wonderful Tennessee, Winter’s Tale, The Daughter-in-Law, Crucible Theatre, Sheffield; Peter Pan, Bristol Old Vic; The Importance Of Being Earnest, Nottingham Playhouse; Democracy, Crucible Theatre, Sheffield.
CREATIVES Joan Clevillé Choreographer
Ros Steen Voice and Dialect Coach
Born in Barcelona, Joan is an independent dance artist based in Dundee. As a dancer, he has worked for twelve years in companies across Europe, including Scottish Dance Theatre (SDT), where he also worked as acting rehearsal director, and, most recently, Lost Dog, and the collective Dog Kennel Hill Project.
Trained at the Royal Conservatoire of Scotland. Has worked extensively in Theatre, Film and TV.
Joan initiated his journey as a choreographer in 2006, creating works for the choreographic platforms of the Graz Opera (Austria) and SDT, where two of his pieces Dreamt for Light Years and Love Games were taken into the main repertory of the company. Since 2014 he creates his own work as an independent artist in Scotland, and he has received several commissions, including Thomas Noone Dance and the Dance Conservatoire of Barcelona. His works have been presented in the UK, Sweden, Germany, Italy, Spain and Japan. Joan has collaborated as a choreographer and movement director in several theatre productions, including Das Landhaus at Schauspielhaus Graz (Austria) and This Town, a site specific production at The Verdant Works directed by Suzi Morrice, head of Dundee Rep Creative Learning. Since summer 2014, Joan is Associate Artist of the Scottish School of Contemporary Dance.
For the Rep: In My Father’s Words, Time and the Conways, The Rise and Fall of Little Voice, Romeo and Juliet, Playhouse Creatures, Sweet Bird of Youth, The Talented Mr Ripley, The Graduate, A Lie of the Mind. Recent work includes: Glasgow Girls, Macbeth, The Missing, Beautiful Burnout and Black Watch (NTS); Ciara, The Artist Man and Mother Woman, The Goat or Who is Sylvia, The Last Witch, Outlying Islands, Solemn Mass for a Full Moon in Summer (as co-director) Heritage (Traverse Theatre); True West, A Day in the Death of Joe Egg, Marilyn, (Citizens’ Theatre); The Lieutenant of Inishmore, Mary Queen of Scots Got Her Head Chopped Off, The Importance of Being Earnest (Royal Lyceum Theatre); A Walk at the Edge of the World, Sex and God (Magnetic North); Lifeboat (Catherine Wheels); The Silver Darlings and Sunset Song (His Majesty’s Theatre/ touring). Films include: I love Luci, Gregory’s Two Girls, Stella Does Tricks. TV includes: Sea of Souls, Rockface, 2000 Acres of Sky, Monarch of the Glen, Hamish Macbeth, Changing Step. Radio includes: The Other One, Gondwanaland and Look Back in Anger.
Rosy Duncan Assistant Director Rosy is in her final year of studies at Lancaster University. Rosy’s first appearance in a professional performance was Nightflights (Dundee Rep Theatre 2002) and The Snow Queen (Dundee Rep Theatre 2003) when she was a member of Dundee Youth Theatre. Her directing work includes ‘Til Death’ll Do Us (Scottish Youth Theatre) and Trivial Drinking (LICA)
LOCAL.
Directing whilst training includes Hamlet: The dinner party, Forest Installation and Umbrella.
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The Glass Menagerie at Dundee Rep Theatre 1962–2014
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The Glass Menagerie at Dundee Rep Theatre 1962–2014
2014
STAFF LIST Administration Chief Executive | joint Artistic Director Philip Howard joint Artistic Director Jemima Levick Head of Finance and Admin [Acting] Jeanette Harris Administrator Viktoria Begg Theatre Admin Assistant Jackie Gourlay Finance Manager Karen Busher Finance Assistant Pamela Reid Building Manager Ron Hare Marketing Head of Business Development and Marketing Susie Crawford Marketing & Campaigns Manager Caishlan Sweeney Press & Stakeholder Officer Alison McDicken Campaigns Officer – Visiting Companies Graeme Cairns Campaigns Officer – RCL and Digital Sean Duncan Graphic Designer Colin Chaloner Production Head of Production (Rep) Nils den Hertog Head of Production (Stage)[Acting] Ian Dow Design Assistant / Scenic Artist Leila Kalbassi Company Stage Manager Daniel Dixon Deputy Stage Managers Lesley Neilson Assistant Stage Managers Debbie Campbell and Owen Thomas Master Carpenter Neville Fenwick Assistant Carpenter Neil Simpson Chief Electrician [Acting] Kate Hall Head of Sound Colin Lowson Deputy LX Alastair Phillips Head of Wardrobe Enza Dormizzi Wardrobe Assistants Nicola Aithie, Rachel Johnson Chief Stage Technician Lee Hamilton
Dundee Rep Ensemble Ensemble John Buick, Irene Macdougall, Ann Louise Ross, Emily Winter Graduate Actors Millie Turner, Thomas Cotran Creative Learning joint Heads of Creative Learning Suzi Morrice and Gemma Nicol Community and Wellbeing Facilitator Amanda Lowson Dramatherapist Donna Jennings, Rose Sadowski Dramatherapy Support Workers Heather Robertson, Sarah Bradley, Sarah Balfour Senior Administrator Mary Sandeman Administrator Karen Robertson Education, Skills and Training Facilitator Heather Cassidy Creative Learning Facilitator Lisa Williamson Women’s Singing Group Leader Sarah Harrop Volunteer Support Workers Claire Gilroy-Milne, Lorna Lamb, Andrew Manzi, Daniel Hird, Izaac Gaines, Heather Scott, Robbie Crowe, Claire Flynn, Lorraine MacGregor, Nicola Shirkey, Sophie Taylor, Jade Anderson, Charlene Flynn, Amelia Gourlay, Jade Anderson, Pyla Bird-Leakey. Scottish Dance Theatre Artistic Director Fleur Darkin joint Executive Producers Liam Sinclair and Alice McGrath Company Manager Amanda Barnett Company Administrator Alexandra Forrest Marketing Manager Anne Marie McCloskey Digital and Marketing Officer Kerr Nairn Education Manager Dawn Hartley Technical Manager Emma Jones Stage Manager Amy Steadman Technical Assistant Adam McCall Producer Scale Dance Aiyana D’Archangelo Rehearsal Directors Jori Kerremans, Matthew Robinson Dancers Francesco Ferrari, Amy Hollinshead,
ACKNOWLEDGEMENTS Audrey Rogero, Aya Steigman, Jori Kerremans, Brian Caillet, Artur Grabarczyk, Naomi Murray, Matthew Robinson Support Workers India Divers, Chloe Divers, Millie Daniel-Dempsey, Terri Dewar, Amelia Newton, Glen McArtney, Katie McFarlane, Charlotte McLean, Aislinn Mulholland and Ania Kielinska Operations & Services Head of Operations Kris Bryce Visitor Services Manager Carol Watson Senior Box Office Assistant Karen Robertson Events & Restaurant Manager Eve Moore Bar and Restaurant Supervisor Amanda Montgomery Visitor Service Assistants Marissa Dempsey, Andrew Manzi, Rachel Stuart, Judith Steele Visitor Service Assistants (Bar, Restaurant, Auditorium, Box Office) Sarah Baragwnath, Amy Bryan, Amy Buchanan, Lisa Croll, Rachel Cunningham, Marissa Dempsey, Claire Dufour, Crisanto Espana, Sarah Fleming, Daniel Ford, Jeff Hannan, Daniel Hird, Caitlin Irvine, Ania Kielinska, Andrew Manzi, Kirsty McLaren, Renata Merciai, Paul Moore, Katherine Murphy, Katie Stewart, Rachel Stuart, Laura Sweenie Kitchen Manager Sandy Cooney Chefs Ross Marshall, Kevin O’Neil Kitchen Assistants Andy Murdoch, Maddalena Valent Board Members Chairman Peter Inglis Board Members Cllr. Jimmy Black, Anita Clark, Johnston Clark, David Craig, Paul Daly, David Dorward, Lord Provost Cllr. Bob Duncan, Leslie Finlay, Ellenore Foulis, Cllr. Ken Guild, Cllr Richard McCready, Sue Moody, Stewart Murdoch, Derek Reid, Jane Richardson, Edward Troughton, Professor Christopher A Whatley
We would like to thank: Citizens theatre Glasgow Pitlochry festival theatre Royal Lyceum theatre edinburgh Perth Theatre Spex Pistols DM Audio
Dundee Rep Theatre’s
SHORT STORY COMPETITION
A Celebration of Tennessee Williams
As part of Dundee Rep’s Autumn Season — which starts with Tennessee Williams’ The Glass Menagerie and in October sees our community tour, Talk to Me like the Rain and Let Me Listen, featuring 4 of Tennessee Williams’ short plays — we are running a Short Story Competition. Applicants may submit their work in the form of a short story or play. The competition is open to anyone aged 16 – 26 The brief is broad but is brought into focus using this image as inspiration. Your short story or play should be no more than 500 words. Deadline for submissions – Fri 19 September Winners will be notified by Fri 18 October The 5 shortlisted stories/plays will be read by our panel of distinguished judges who will select the winner. Entry is free
Grand Prize:
»» A place on Dundee Rep’s playwriting Course, run
by Artistic Director Philip Howard at Dundee Rep in 2015 (dates and details to be confirmed)
»» 10 short story collections including Tennessee Williams’ 27 Wagons Full of Cotton
»» Tickets to Dundee’s Literary Festival events »» 2 tickets to all Dundee Rep Ensemble productions during 2015
»» £50 book voucher
Top Ten Finalists:
»» Names will appear on Dundee Rep and Literary Dundee Websites
»» 2 tickets to all Dundee Rep Ensemble productions during 2015
Eligibility:
»» This contest is open only to writers who have not
yet published a book of fiction. Published books include self-published books with ISBN numbers.
Submissions should be emailed to: drtmarketing@dundeereptheatre.co.uk by Friday 19 September.
»» Works must not have been previously produced,
Visit: dundeerep.co.uk/event/short-story-competition
»» Works that have won and/or placed in any other
published, performed, or patronized in any way, including in a formal staged reading. writing contest are ineligible.
»» Entrants must be aged 16–26.
The Rep’s celebration of the work of Tennessee Williams continues with an evening of his short plays, performed in community venues across Dundee. From the mid-1930s, long before he achieved recognition with The Glass Menagerie, Williams was a prolific writer of poetry, short stories & short plays. It is in these mini-dramas, full of poetic insight, that he began exploring his life-long theme of the search for salvation, happiness — paradise even — in an imperfect world.
Tickets: £6 Performance begins at 7pm at all venues
Tour Dates
Venue
Contact
Mon 20 October
Meikleour Village Hall
01250 875424 (Music Box)
Wed 22 October
The Little Theatre
01382 431503 (Central Library)
Thu 23 October
Kirkton, Derwent Avenue
01382 436453
Fri 24 October
Finmill Community Centre
01382 438641
Sat 25 October
Bharatiya Ashram
01382 220023
Tue 28 October
Charleston Community Centre
01382 436723
Wed 29 October
The Dibble Tree, Carnoustie
01241 853946 (Fobel’s DIY Shop)
Thu 30 October
Ardler Complex
01382 436442
Fri 31 October
Douglas Community Centre
01382 436944
Sat 01 November
Menzieshill Community Centre
01382 432967