Word: amanda
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Dates: during 1980-1989
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...Kathy Carroll (Landry) 11:32; H. Diane Hurley (Carroll, Sue, Nowell) 12:38; P. McGilvray 3:33; P. O'Dell (Kazmaler) 5:05; H. Newell (Carroll) 8:33; P. O'Dell (Karmaler) 5:05; H. Newell (Carroll) 8:33; P. Linney Browning (Carlborn, Kazmaier) 10:53; P. McGilvray (Carborn. Amanda Cluett) 11:50; P. Cynthia Griffin (O'Dell, Halldorson) 14:10; P. Hilderson (O'Dell...
What this poetic approach too often misses is Williams' deft and impish sense of humor. The Glass Menagerie is autobiography in the form of a situation comedy. The first half of the play could be called "Mama's Family": Amanda Wingfield, a fiftyish matron whose husband abandoned her 15 years earlier, plots to find a "gentleman caller" who will support her and marry her shy, lame daughter Laura. In the second half, a young man does call-no gentleman, rather an awkward go-getter whose own glory days are long past-and a bittersweet romance flutters through...
...production is graced with two splendid actresses in two splendid roles; each falls just short. As Laura, Amanda Plummer spends the first act in pained watchfulness, mothering her collection of glass animals, nursing herself toward psychosis. She comes to life in her scenes with gentleman Jim (John Heard, in a brisk and engaging performance). "Somebody ought to-Ought to-kiss you, Laura!" Jim proclaims. As he leans in and embraces her, Laura surrenders her body and mouth to him, but not yet her wavering right arm. The hand pauses in midair, uncertain whether or how to commit, then grasps firmly...
...actresses who have played Amanda, from Laurette Taylor to Gertrude Lawrence to Helen Hayes, Shirley Booth, Maureen Stapleton and Katharine Hepburn, none brings more impressive credentials to the role than Jessica Tandy. In 1947, she was the first Blanche Dubois; now, at 74, she is playing Williams' first great cracked Southern belle. A generation too old for the part, she strides through the play on the assurance of her craft. Tandy's Amanda is flinty, not flighty; a hawk, not a dithery dove; a bustling den mother, not a senescent teenager who treats the gentleman caller to some...
PLAYS WRITTEN BY Tennessee Williams reek of viciousness, violence, and sexual tension. Some of his most famous characters--Amanda in The Glass Menagerie and Blanche in A Streetcar Named Desire--struggle with self-control and eventually find themselves unable to distinguish fantasy from reality. The characters in Cat on a Hot Tin Roof, however, face an unmistakingly real existence controlled by alcoholism, latent homosexuality, and insatiable desire and greed. A successful production of any Williams play requires an intimate understanding of the underlying themes and a willingness to confront them straight on without embellishing the lines with sappy overacting...