The Glass Menagerie

 The Glass Menagerie

The end of scene 7 in Tennessee William’s play, The Glass Menagerie, is the logical culmination of the heady trip that is the life of characters Amanda, her daughter Laura, Her son Tom and his friend Jim.

The scene skillfully brings to a climax the personal conflict that Laura is going through due to her shy personality and her partial physical disability. Simultaneously, it brings out the high hopes that Laura’s mother Amanda has in transitioning her daughter into a better life. At the same time, it brings out Tom’s apathy towards life and his inability to bring out the best from opportunities. Lastly, it highlights the optimistic outlook and infectious spirit that Jim has and where it is leading him.

Firstly, the entire scene is set in candlelit darkness. William’s intention in doing this was probably to evoke a sense of stark reality, where no grey areas or compromises exist. In Amanda’s case, she faces the stark reality of having done her best to lure Jim into an intimate setting with Laura. It is now Laura’s responsibility to turn the situation to her advantage, there is nothing more that Amanda can do but wait. In Laura’s case, she faces the stark reality of confronting her shyness, endearing herself to Jim and settling her mother’s anxieties. Considering the disadvantaged past she had, Laura is definitely facing a tall order.

In Jim’s case, he faces the stark reality of choosing between his fiancée Betty and his long time secret admirer Laura. There are no compromises for him, he has to choose one and disappoint the other. At this point in the play, only Tom experiences a relatively easy time because he has confronted his insecurities in previous scenes and accepted his fate. This explains his indifference to the ‘disaster’ that has unfolded in his mother’s living room. His subservience to his mother, though momentary through his relegation to the kitchen throughout the scene, points to his lack of drive, unlike his friend Jim.

The situation becomes starker due to Tom’s lack of interest in Jim’s personal life. When questioned about inviting Jim over yet the latter is already engaged to Betty his curt reply paints the picture of a man who has given himself up to fate.

AMANDA: It seems extremely peculiar that you wouldn’t know your best friend was going to be married!

TOM: The warehouse is where I work, not where I know things about people!

While Jim finds his job at the warehouse an acceptable means for earning income, Tom views it as just a place to make some money that he later uses to watch movies and engage in other pleasures. While Jim earns to fund his education and secure his future as a family man, Tom views it as a drab place that facilitates his depressed lifestyle. The crux of the matter is his resentment and inability to control the direction his life takes.

The mastermind in this scene is Amanda, who skillfully tries to guide Laura’s life for the better. The music and Amanda’s background giggles foreshadow to the audience that a conspiracy is unfolding. She further tries to coax Jim into her scheme by nudging him to give Laura some wine and keep her company while ensuring Tom is busy in the kitchen cleaning dishes. Her gay laughter, unnecessarily sprinkled throughout her dialogues probably indicates someone trying to hide something by being too hospitable. The foreshadowing thus subtly enables a keen member of the audience to see both sides of the drama.

The dialogue between Jim and Laura consumes a large chunk of the scene and dwells largely on the two actors and their struggles. William allows the two to discuss each other’s school days in detail and to come up to a sense of unique closure. Jim assumes the role of the optimistic protagonist for the duration their dialogue, oozing a warm wisdom, cheerfulness and confidence that melts Laura’s timidity and brings out her primary desire: the need to love and receive love.

Amanda commands the most dynamic dialogue in the scene, engaging Tom, then Jim and finally Laura. Being the primary conspirator, it is only right she connects with everyone   to steer her scheme along. Her treatment of Jim is warm and friendly, because he is the target of her effort to being him and Laura together. Her dialogue with Laura brings out her humanity the most. She is part exasperated, part sympathetic and ultimately optimistic that someday, all will be well, as evidenced in their final moments in the scene.

Amanda’s dialogue with Tom is rather dismissive, almost contemptuous, and only respectable to the extent that he is useful in her plot.

AMANDA: Now, Thomas, get into this apron!

With one brief and hard sentence she downgrades Tom’s role from an active and happy participant in a conversation to a prop in the drama. From here, it all goes downhill. The next time the two engage it is in even more hostile circumstances.

AMANDA: The gentleman caller has made an early departure. What a wonderful joke you played on us!

However, Tom doesn’t take this hostility lying down, as seen above, he responds with an equal amount of sarcasm. Williams spared no effort in highlighting the antagonism between these two characters. Eventually, this antagonism leads to a loss for both, because their little plot unravels, leaving them clutching at straws.

The diction is clear and comprehensive but distinctly regional with expressions like ‘jigger-me’ or ‘I’ll be jiggered’, giving the dialogue a local feel. Amanda’s use of irony is especially conspicuous, pointing to a peculiar outlook that you wouldn’t find in any old city or hear in any odd conversation (Miles, 2016).

AMANDA: Come in here a minute. I want to tell you something awfully funny.

This sentence points to the rather atypical conversation in this play, uttered by someone who understands and is comfortable with unique turns of expressions.

The Legend on the screen plays a subtle role of guiding the audience on the direction the play is about to take. At the beginning of the dialogue between Jim and Laura, the legend directs ‘I DON’T SUPPOSE YOU REMEMBER ME AT ALL !’, preparing the audience for a lengthy process of acquaintance when the two characters try to place each other’s roles in their prior high school life. When Laura takes up her damaged unicorn, the legend simply states ‘SOUVENIR’ to inform the audience about what she is about to do, offer Jim a memento that will remind him of their encounter.

Music and lighting powerfully yet delicately manipulate the audience and the characters to illustrate the mood, direction and purpose of the scene. Williams is able to deftly control the stage direction to give the story depth and function. The closing direction that precedes Tom’s closing speech is particularly vivid and   appropriate.

TOM’s closing speech is timed with the interior pantomime. [The interior scene is played as though viewed through soundproof glass. AMANDA appears to be making a comforting speech to LAURA who is huddled upon the sofa. Now that we cannot hear the mother’s speech, her silliness is gone and she has dignity and tragic beauty.

“TOM’s closing speech is timed with the interior pantomime. [The interior scene is played as though viewed through soundproof glass. AMANDA appears to be making a comforting speech to LAURA who is huddled upon the sofa. Now that we cannot hear the mother’s speech, her silliness is gone and she has dignity and tragic beauty. LAURA’s dark hair hides her face until at the end of the speech she lifts it to smile at her Mother. AMANDA’s gestures are slow and graceful, almost dancelike as she comforts the daughter. At the end of her speech she glances a moment at the father’s picture – then withdraws through the portières. At the close of Tom’s speech, LAURA blows out the candles, ending the play.]”

This segment of the scene that one could easily overlook sets the stage for Tom’s eloquent closing speech, exemplifying Williams’ exceptional talent when it comes to stage direction.

Tom’s closing speech elegantly ties all the elements of this play together: bringing out the best of dialogue, stage direction and narration. The speech highlights with finality, Tom’s inner thought and how it affects him. His failure to help Laura haunts him even as he loses his job at the warehouse and opts to move to another city. Yet despite how far away he runs, memories still linger, thoughts of what may have been still irk his conscience, leaving him in a state of constant wandering.

When he finally reaches a shop selling a perfume in a ‘strange’ city that strongly reminds him of Laura, he decides to confront his past. It is here that he finds peace by reconciling with his past and accepting his sister. “Oh, Laura, Laura, I tried to leave you behind me, but I am more faithful than I intended to be!” Nothing can stop Tom from valuing and loving his sister despite the major differences between him and his mother due to her.

“I reach for a cigarette, I cross the street, I run into the movies or a bar, I buy a drink, I speak to the nearest stranger -anything that can blow your candles out!”

Thus ends the tale of Tennessee Williams, with Tom finding comfort in his old vices after accepting his role in his sister’s life

References

Miles, Anna. A Study Guide to The Glass Menagerie. 2016. Retrieved from http://www.sactheatre.org/wp-content/uploads/2016/05/The-Glass-Menagerie.pdf.  Accessed 9/13/2016.