The Look of a Classic: How Tony-Winning Designer Bob Crowley Re-envisioned the Set for The Glass Menagerie

By Benjamin Solomon
08 Sep 2013

Bob Crowley
Bob Crowley
Joseph Marzullo/WENN

Tony winner Bob Crowley chats with Playbill.com about the challenges of designing the set for the current revival of Tennessee Williams' The Glass Menagerie.

The Glass Menagerie is an American classic, a work that routinely rates as one of the greatest American plays of the the twentieth century, that set the tone for much of American drama as we know it and is produced in regular rotation around the country. This esteem makes reviving the 1944 drama an immense challenge, one that requires the theatre artists involved to respect the history of the work while having something new to say with it. And this challenge applies not just to the actors and the director but to the designers as well, who must find a way to put their unique stamp on a work whose look may be as iconic as its dialogue.

"The man is a poet of the stage," admitted Irish set designer Bob Crowley (Once, Mary Poppins, The Coast of Utopia), who was tasked with the challenge of finding a balance between the historical significance of The Glass Menagerie and its contemporary appeal when helping to revive the show for its new Broadway incarnation, which began previews at the Booth Theatre Sept. 5. "Tennessee Williams is like your Shakespeare — you quote him like we quote Shakespeare — and so to take a very overtly familiar script and try and find a new way of looking at it, that was the idea."

In the script for The Glass Menagerie — Williams' semi-autobiographical play about overbearing mother Amanda Wingfield and her attempts to find a suitor for her fragile daughter, Laura — the emerging playwright included a full page of set descriptions detailing exactly what he believed the Wingfield apartment should look like. Williams described every inch of the set, from its "poetic" fire escape just outside the window, to the second proscenium he insists upon to define the dining room, to the way the light reveals different rooms in the apartment.

These descriptions are much more than the overreaching directions of a young playwright. They have become theatre touchstones; tools used to teach generations of drama students how to look at twentieth-century drama. Given their influence, do set designers owe a sense of authenticity and accuracy to their audiences when reviving the play?

"Attempting to faithfully recreate an original production surely has its place, but I would consider that less the spirit of a revival and more that of a museum piece," said Andrew Lieberman, associate arts professor and head of scenic design for NYU's Tisch School of the Arts' Design for Stage and Film program. "I believe revivals should feel every bit as much of the current moment as new plays. The designer and director must interpret the given stage directions, distilling their essential meaning from any record of the original production or design vocabulary of their time. Detailed and elaborate stage directions, often found in Tennessee Williams' plays, make this more challenging but not any less important."



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