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Play Guide [1.2MB PDF] - Arizona Theatre Company

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DEFENSE<br />

IN DEFENSE OF THE MATRIARCH<br />

In literature, mythology, and drama, one can easily identify the traits of the archetypal<br />

mother. She is sweet, kind, loving and loyal, devoting all of her energy to the well-being<br />

of her husband and family. Indeed, the virtues of these matriarchal characters are often<br />

exaggerated to the point that real-life women cannot possibly measure up. Therefore, it<br />

may surprise audiences that Amanda, the matriarch in Tennessee Williams’ The Glass<br />

Menagerie, is anything but perfect. Based upon Williams’s own mother Edwina, Amanda<br />

embodies what can happen when a mother’s wish for her family’s happiness goes too far<br />

and ventures into the realm of fantasy.<br />

Some viewers perceive that<br />

Amanda lives in a world of<br />

her imagination, choosing<br />

to remember an idealized<br />

past rather than face grim<br />

realities. Others perceive that<br />

she has an acute sense of<br />

reality she uses to create an optimism that is false. Either<br />

way, since her husband has abandoned her to raise two<br />

children alone in a time period when a woman on her own<br />

would have been in a precarious position, her situation is<br />

bleak. However, Amanda succeeds in keeping her family<br />

afl oat through sheer force of will by exerting control on<br />

her remaining family members. She wants what is best<br />

for them, which is shown by her worrying that Tom’s late<br />

night activities may endanger his job and signing Laura up<br />

for a secretarial course. Both actions are symptoms of her<br />

desire to see Tom and Laura well-placed. However, her<br />

controlling nature takes a toll on her relationships with<br />

her now-adult children. Amanda’s motherly concern and<br />

eternal optimism for Laura’s prospective suitors end up<br />

coming across as overbearing, unwittingly insensitive, and<br />

The strongest infl uences in my life and my work<br />

are always whomever I love. Whomever I love<br />

and am with most of the time, or whomever I<br />

remember most vividly. I think that's true of<br />

everyone, don't you? – Tennessee Williams<br />

Costume Design for Amanda<br />

by designer Emily Pepper<br />

at times even delusional. Amanda means well, but the best of intentions can have the<br />

worst consequences. Her love smothers her children and the safe haven she attempts<br />

to create for them actually oppresses them both, leaving Laura and Tom both longing to<br />

escape.<br />

- written by Alicia James, dramaturgical intern<br />

The Glass Menagerie<br />

<strong>Arizona</strong> <strong>Theatre</strong> <strong>Company</strong> <strong>Play</strong> <strong>Guide</strong> 15

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