went much further—for time is the longest distance between two places.”
Charleston Stage, now celebrating its 47th Season, is South Carolina’s largest professional theatre company in residence at the Historic Dock Street Theatre. Charleston Stage’s acclaimed full-scale productions light up the stage with stunning scenery, dazzling costumes, and brilliant lights! Productions feature a Professional Resident Acting Company and over 100 professional actors, singers, designers and theatre artists. All performances take place at the Historic Dock Street Theatre, “America’s First Theatre,” in the heart of downtown Charleston.
By Tennessee Williams
BRIEF Synopsis:
Tennessee Williams’ Tony Award-winning timeless American classic, The Glass Menagerie, invites audiences into the fragile world of the Wingfield family, where dreams and reality intertwine in a tender dance. Set against the backdrop of a small apartment in St. Louis during the 1930s, the play delves into the lives of Amanda Wingfield and her two adult children, Tom and Laura. Amanda, a faded Southern belle, longs for a brighter future for her children while grappling with the challenges of the present. Tom, a frustrated dreamer and poet, seeks escape from the monotony of his job and the responsibility of caring for his delicate sister Laura, who finds solace in her collection of glass figurines. As the family confronts the harsh realities of their existence, The Glass Menagerie weaves a poignant and introspective drama that explores themes of memory, illusion, and the fragile nature of familial ties. With its rich characters and hauntingly beautiful narrative, this classic play remains a powerful and resonant exploration of the complexities of the human experience that has entranced audiences for generations.
CHARACTERS:
Tom Wingfield
Amanda Wingfield
Laura Wingfield
Jim O’Connor
age recommendation: 9th - 12th
content warnings
The Glass Menagerie addresses themes of familial dysfunction, loneliness, mental health challenges, and societal pressures. It includes Ableist language; racist language: coarse language; references to drugs, sex and alcohol; references to death and trauma.
the creative team
Tennessee Williams (Playwright)
Tennessee Williams, born Thomas Lanier Williams III in 1911, was a prominent American playwright renowned for his insightful and often tragic dramas. Raised in Mississippi, Williams struggled with a difficult family dynamic and explored themes of repression, desire, and loneliness in his works. His breakthrough came with The Glass Menagerie (1944), followed by A Streetcar Named Desire (1947), which solidified his reputation. Williams’ plays, characterized by their complex characters and poetic dialogue, earned him multiple Pulitzer Prizes and widespread acclaim. He continued to write prolifically until his death in 1983, leaving behind a legacy as one of America’s foremost playwrights whose works continue to resonate with audiences worldwide.
FUn facts
• The play is heavily autobiographical, drawing from Tennessee Williams’ own experiences growing up in St. Louis with his overbearing mother and fragile sister.
• Williams originally titled the play The Gentleman Caller, highlighting the importance of the character Jim O’Connor in the story.
• The Glass Menagerie premiered in Chicago in 1944 before moving to Broadway later that year. It marked Williams’ first major success as a playwright.
• The names of the characters are significant: Amanda is derived from “amanda,” meaning “lovable” in Latin, reflecting her desire to be loved and admired. Laura’s name is derived from the laurel tree, symbolizing her delicate and shy nature.
• Laura’s collection of glass animals symbolizes her fragile and delicate nature, as well as the precious but easily breakable dreams of the characters.
• The Glass Menagerie has been adapted into various forms, including radio plays, television movies, and stage productions, showcasing its enduring popularity and versatility.
1. CONGLOMERATION: combining miscellaneous things into a rounded mass. The Wingfield apartment is in the rear of the building, one of those vast hive-like conglomerations of cellular living-units that flower as warty growths in overcrowded urban centers of lower middle-class population and are symptomatic of the impulse of this largest and fundamentally enslaved section of American society to avoid fluidity and differentiation and to exist and function as one interfused mass of automatism.
2. TENEMENT: a run-down apartment house barely meeting minimal standards. At the rise of the curtain, the audience is faced with the dark, grim rear wall of the Wingfield tenement.
3. SINISTER: threatening or foreshadowing evil or tragic developments. This building is flanked on both sides by dark, narrow alleys which run into murky canyons of tangled clotheslines, garbage cans, and the sinister latticework of neighboring fire escapes.
4. PROSCENIUM: the part of a stage between the curtain and the orchestra. Just beyond, separated from the living room by a wide arch or second proscenium with transparent faded portieres (or second curtain), is the dining room.
5. TEMPERAMENT: your usual mood. AMANDA [lightly]: Temperament like a Metropolitan star!
6. NIMBLE: mentally quick. She also needed to have a nimble wit and a tongue to meet all occasions.
7. ELEGIAC: expressing sorrow often for something past. Her eyes lift, her face glows, her voice becomes rich and elegiac.
8. BEAU: a man with whom one has a romantic relationship. Bates was one of my bright particular beaux!
9. FUGITIVE: someone who is sought by law officers. She slips in a fugitive manner through the half-open portieres and draws them gently behind her.
10. ASCENT: a movement upward. At the sound of her ascent, Laura catches her breath, thrusts the bowl of ornaments away, and seats herself stiffly before the diagram of the typewriter keyboard as though it held her spellbound.
11. MARTYR: one who suffers for the sake of principle. Amanda leans against the shut door and stares at Laura with a martyred look.
12. INDUCT: place ceremoniously or formally in an office or position. AMANDA: As you know, I was supposed to be inducted into my office at the D.A.R. this afternoon.
13. DISPOSITION: your usual mood. AMANDA [absently]: He must have had a jolly disposition.
SC STANDARDS
ELA
INQUIRY BASED LITERARY STANDARDS (I)
Standard 4: Synthesize information to share learning and/or take action.
4.1 Employ a critical stance to analyze relationships and patterns of evidence to confirm conclusions.
4.2 Evaluate findings; address conflicting information; identify misconceptions; and revise.
4.3 Determine appropriate disciplinary tools to communicate findings and/or take informed action.
Standard 5: Reflect throughout the inquiry process to assess metacognition, broaden understanding, and guide actions, individually and collaboratively.
5.1 Acknowledge and consider individual and collective thinking; use feedback to guide the inquiry process.
5.2 Analyze and evaluate previous assumptions; test claims; predict outcomes; and justify results to guide future action
READING
LITERARY TEXT (RL): MEANING AND CONTEXT
Standard 5: Determine meaning and develop logical interpretations by making predictions, inferring, drawing conclusions, analyzing, synthesizing, providing evidence, and investigating multiple interpretations.
5.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text; identify multiple supported interpretations.
Standard 7: Analyze the relationship among ideas, themes, or topics in multiple media, formats, and in visual, auditory, and kinesthetic modalities.
7.1 Trace the development of a common theme in two different artistic mediums.
7.2 Investigate how literary texts and related media allude to themes and archetypes from historical and cultural traditions.
Standard 9: Interpret and analyze the author’s use of words, phrases, and conventions, and how their relationships shape meaning and tone in print and multimedia texts.
9.1 Determine the figurative and connotative meanings of words and phrases; analyze the impact of specific word choices on meaning and tone.
READING INFORMATIONAL TEXT (RI)
5.1 Cite significant textual evidence in order to articulate explicit meanings and meanings that can be inferred from the text; identify multiple supported interpretations.
8.1 Determine figurative, connotative, or technical meanings of words and phrases; analyze the impact of specific words, phrases, analogies or allusions on meaning and tone.
12.3 Read and respond to grade-level text to become selfdirected, critical readers and thinkers.
COMMUNICATION (C): MEANING AND CONTEXT
Standard 1: Interact with others to explore ideas and concepts, communicate meaning, and develop logical interpretations through collaborative conversations; build upon the ideas of others to clearly express one’s own views while respecting diverse perspectives.
1.1 Gather information from print and multimedia sources to prepare for discussions; draw on evidence that supports the topic, text, or issue being discussed; and develop logical interpretations of new findings.
1.3 Develop, apply, and adjust reciprocal communication skills and techniques with other students and adults.
1.4 Engage in dialogue with peers and adults to explore meaning and interaction of ideas, concepts, and elements of text, reflecting, constructing, and articulating new understandings.
Standard 2: Articulate ideas, claims, and perspectives in a logical sequence using information, findings, and credible evidence from sources.
2.1 Present information and findings from multiple authoritative sources; assess the usefulness of each source in answering the research question, citing supporting evidence clearly, concisely, and logically such that listeners can follow the line of reasoning, and the organization, development, substance, and style are appropriate to purpose, audience, and task.
DRAMA
Anchor Standard 3: I can act in improvised scenes and written scripts.
T. P IH.5. I can refine character choices using given circumstances, objective, obstacles, and tactics in a simple theatrical work.
Anchor Standard 5: I can interpret and evaluate live or recorded dramatic performances as an active audience member.
T.R IM. 5 I can recognize that artistic choices are made to evoke particular reactions from the audience.
Theatre Education
Acting Classes
200+ Students Attend Acting Classes
After School
Charleston Stage’s TheatreSchool offers classes year round for students from kindergarten through 8th grade at Charleston Stage’s West Ashley Theatre Center. Acting classes for students of all ages and abilities are taught by members of Charleston Stage’s Professional Resident Acting Company. Classes range from beginning classes to performance workshops and performance troupes. We are now offering a new full-year registration. Tuition scholarships are available for need-based students. Register online today at CharlestonStage.com/education!
ArtReach In-School Workshops
Bringing Professional Actors Into the Classroom
Charleston Stage’s Professional Resident Actors provide dynamic workshops in area schools throughout the Lowcountry. Workshops use theatrical skills to teach academic subjects and can be combined with a school matinee performance experience. For information on booking ArtReach workshops, contact Rylee Coppel, Director of Education and Engagement, at rcoppel@charlestonstage.com or (843) 225-3900.
TheatreWings High School Apprenticeships
A Tuition-Free Apprentice Program For Teens
The TheatreWings High School Apprentice Program is designed to allow talented young people the opportunity to work directly with theatre professionals and gain first-hand experience in professional theatrical production. Students explore stage management, lighting and sound, as well as set, prop, and costume design and construction. Designed for highly dedicated students, TheatreWings requires more than 100+ hours of apprenticeship each season. For more information, email TheatreWings Co-Coordinators Ravyn Meador or Caleb Garner at wings@charlestonstage.com.
For more information on our Education programs, call the Education Office at (843) 225-3900 or visit CharlestonStage.com/education.
dock
For almost 300 years audiences have delighted in performances at the Historic Dock Street Theatre which stands on the site of the very first theatre building in America which opened its doors in 1736. The current building, originally The Planter’s Hotel was built in 1803 and in 1937 was converted into the Dock Street Theatre know today. Charleston Stage presents over 150 performances at the Historic Dock Street Theatre playing to theatre goers from every state in the union and many foreign countries. The Dock Street Theatre, newly renovated in 2010, is currently owned and managed by the City of Charleston. Other performing arts groups including Spoleto Festival USA perform here annually.
On February 12, 1736 the Dock Street Theatre opened with a performance of The Recruiting Officer. Built on the corner of Church Street and Dock Street (now known as Queen Street), the Historic Dock Street Theatre was the first building in America built exclusively to be used for theatrical performances. Flora, the first opera performance in America, took place at the Historic Dock Street Theatre.
The original Dock Street Theatre was probably destroyed by the Great Fire of 1740 which destroyed many of the buildings in Charleston’s French Quarter. In 1809, the Planter’s Hotel was built on this site and in 1835 the wrought iron balcony and sandstone columns of the Church Street facade were added. A number of notable persons worked and patronized the Planter’s Hotel including the noted 19th Century actor Junius Brutus Booth (father of Edwin and John Wilkes Booth). Robert Smalls, an African-American Civil War hero, who stole a steamboat in the harbor and sailed it out past the Confederate-held Ft. Sumter and turned it over to the blockading Union Fleet, served as a waiter in the hotel’s dining room prior to the war. Charleston’s famed Planter’s Punch was first introduced here.
After the Civil War, the Planter’s Hotel fell into disrepair and was slated for demolition. But in 1935, after Milton Pearlstine made the property available to the City of Charleston and at the urging of Mayor Burnet Maybank and other notable citizens, the original building became a Depression Era WPA (Works Progress Administration) project. At that time, the present theatre was constructed within the shell of the
Planter’s Hotel. The hotel’s grand foyer became the grand foyer of the theatre and the hotel’s dining room now serves as the box office lobby. The beautiful woodwork and mantels of the second floor drawing room were salvaged from the Radcliffe-King Mansion (circa 1799) which stood at the corner of George and Meeting Streets and was razed to build the College of Charleston gymnasium, another WPA project. Modeled on eighteenth century London playhouses by Charleston architect Albert Simons, the present Dock Street Theatre’s new stage house and auditorium were built in the hotel’s courtyard. The local carpenters who were put to work as a part of this Depression era relief effort utilized locally grown and milled native black cypress for the beautiful warm wooden interior. Following this $350,000 renovation, The Historic Dock Street Theatre’s second grand opening took place on November 26, 1937. Notables in the audience included author DuBose Heyward (Porgy) who was named writer-inresidence.
The Historic Dock Street Theatre reopened for the third time on March 18, 2010 after a three year, $19 million dollar renovation by the City of Charleston. This extensive fullscale renovation brought the historic theatre into the 21st century with state-of-theart lighting and sound, modern heating and air conditioning, and new restrooms and seating. In addition, the theatre was made seismically secure and fully handicapped accessible. Extensive sound-proofing was added to ensure that outside noises no longer intruded on performances inside.
