The Glass Menagerie

The Glass Menagerie by Tennessee Williams Directed by Timothy M Carter Season: 16th October - 13th November 2010 Preview night 17th October Friday and Saturday nights at 8pm Sunday matinée at 4.30pm Information Night 7pm - 10pm Wednesday, 14th July 2010 Genesian Theatre 420 Kent Street SYDNEY NSW 2000 This evening will commence with a full read of the script by all attending followed by a question and answer time with the opportunity to book an audition time. Audition Days Saturday, 17th July 2010 Genesian Theatre 420 Kent Street SYDNEY NSW The auditions will comprise two sections: a prepared monologue and a cold script read. All auditionees well be required to prepare a two minute monologue which best represents the character for which they are auditioning. Monologues from The Glass Menagerie are acceptable but not necessary. Additionally, auditionees are asked to demonstrate an appropriate 'Southern' accent if able to do so. Selected materials for script reads will be made available prior to the booked audition time at the venue. Auditionees are requested to arrive at the venue 15 minutes prior to their booked time to complete an audition form and familiarise themselves with the relevant script selections. If any person requires reading materials prior to the day to assist with any reading difficulties, please let Tim know on the email address below. Auditions will be held at 10 minute intervals by appointment and all auditionees will have a headshot taken on the day to assist with casting. Please feel free to book an appointment at the Information Night or by contacting Tim Carter at: gt.glassmenagerie@gmail.com Call Backs 2pm - 5pm Saturday, 24th July 2010 Genesian Theatre 420 Kent Street SYDNEY NSW Call backs will involve auditionees reading against one another as well as some improvisation work. The Glass Menagerie OVERVIEW Originally written for screen under the name The Gentleman Caller by Tennessee Williams, The Glass Menagerie premiered in Chicago in 1944 to critical acclaim. With a cast of four this is an evocative play which brings to light the struggles of each character and the way in which they reconcile their desire for their dreams and their duty to family. Tom Wingfield takes us through his memories on a journey which identifies many social and family themes which are as relevant today as they were in St Louis, 1937. He is oppressed by his obligation to his family since the father walked out on them - a crippled sister (Laura) who has become an ascetic and a mother (Amanda) who is determined to marry her off while reliving her own memories of being a Southern Belle with many gentlemen callers. This season's production of The Glass Menagerie will provide an opportunity to explore personal demons and the world we create to find security and comfort, and conflict between an inherent sense of duty and the desire to follow one's dreams. CAST Laura's crippled foot is the foundation of all her fears and insecurities and the impetus behind the creation of her own world with her menagerie of glass animals. This thematic device is symbolic of an individual's personal demons and the menagerie is representational of the world we create to find security and comfort. Tom, who is the narrator throughout the play, struggles with the conflict between his inherent sense of duty towards his family and his desire to become a writer. Within our modern society, we so often relinquish our dreams to do that which is right and proper. The duty to support our families and social networks too often dampens (if not extinguishes) the fire and passion which fuels our dreams. Amanda's desire for the comforts and illusions from her memories as a 'southern belle' becomes the driving force for her to find similar happiness and fulfilment for her daughter Laura. This obsession becomes the main conflict between Amanda and Laura, one which Tom is somewhat unwillingly drawn into. The distortion of reality by memories is a natural result of the passing of time and the result of remembering the good. This distortion can, however, become unhealthy when it shifts our focus on reality to such a point that the desired outcome (however rational it may or may not be) becomes of greater importance than the original intent of doing or seeking good. Jim, the gentleman caller, is a catalyst for the culmination of all Laura's, Amanda's and Tom's insecurities, drawing the fears and dissatisfactions into a final frenzy of family breakdown. Most poignantly, Jim illustrates the damage which can be caused to an individual who holds too tightly to a memory and the dreams associated with it. The symbolism evoked with the accidental breaking of the horn from the glass unicorn is succinctly stated by Laura: "Now it is just like all the other horses." Each memory or dream, desire or hope is in danger of being broken if reality is thrust upon it with too great a vigour.