Review: THE GLASS MENAGERIE at Theatrical Outfit

There’s a particular thrill in seeing a classic American play reimagined with both reverence and boldness. Theatrical Outfit’s new production of Tennessee Williams’ THE GLASS MENAGERIE, which opens its 49th season and plays through November 23rd, does just that. It effectively reminds us why this memory play endures more than 80 years after its premiere, while offering a fresh perspective and a deep, emotional resonance that will keep Atlanta audiences talking long after the final bows.

Set in Depression-era St. Louis, THE GLASS MENAGERIE tells the story of the Wingfield family—Amanda (Terry Burrell), a faded Southern belle clinging to memories of gentler times; her restless son Tom (Stephen Ruffin), torn between duty and dreams of escape; and her painfully shy daughter Laura (Devon Hales), who finds solace in her collection of delicate glass animals. When Tom brings home a “gentleman caller,” Jim (Matt Mercurio), for Laura, hopes and heartbreak collide in a fragile dance of memory, longing, and the search for a life that is never attained.

Director (and Theatrical Outfit’s Artistic Director) Matt Torney utilizes the intimate, thrust stage at Theatrical Outfit to remarkable effect, stripping away excess and allowing the story’s emotional core to shine. His pacing is solid and steady and he ensures every moment is focused on the humanity on stage. The scenic design by Isabel & Moriah Curley-Clay is simple yet hauntingly bold with clear, “glass-like” furniture that floats in a liminal space, surrounded by an industrial metal walkway that grounds the action in urban St. Louis. Looming behind it all is a giant sign reading “Paradise” in reverse, a tantalizing promise forever out of reach for the Wingfield family, and especially for Amanda. Ben Rawson’s lighting creates the perfect mood for every moment, and when the power goes out, the simple flicker of a “candlelit” spotlight almost feels like a character itself.

At the heart of THE GLASS MENAGERIE is Atlanta theatrical icon Terry Burrell as Amanda Wingfield. Burrell’s performance is a masterclass in contrasts. She brings a true Southern gentility to Amanda, but tempers it with a fiery flair that never lets us forget the steel beneath the charm. Her Amanda is both a faded belle and a fierce survivor, clinging to hope with a tenacity that is as heartbreaking as it is admirable. It’s a tour de force that anchors the evening.

Devon Hales delivers a Laura that is nothing short of devastating. Like a wounded bird, Hales’ Laura is fragile but not without a certain spirit. Her every gesture and glance conveys a world of longing and pain. There are even moments when Hales, with just an expression, evokes the emotional transparency of a young Sally Field. Her heartbreak is palpable, her hope achingly real.

As Tom, Stephen Ruffin gives a performance that is both familiar and fresh. He effortlessly embodies the tormented choice at the heart of Williams’ script: family or freedom – the same choice made by his absent father years ago. Ruffin’s Tom is stalwart and conflicted, his frustration at his lot in life simmering just beneath the surface, always edged with a melancholy that lingers in every line.

Rounding out the quartet is Matt Mercurio as Jim, the “gentleman caller.” Mercurio brings a kind and confident air to his portrayal, and his scenes with Hales’ Laura are a highlight—culminating in a brilliant and emotional climax that leaves both characters, and the audience, changed forever.

The design elements work together to elevate the drama. April Andrew Carswell’s costumes and Antoinette Black’s Wigs root us in the period, even as the timelessness of Williams’ script makes us forget the specifics of time and place. Kendall Simpson’s sound design and original compositions create a tonal backdrop that underscores the play’s emotional momentum, never overwhelming but always present.

Theatrical Outfit’s THE GLASS MENAGERIE is a testament to the enduring power of Williams’ writing and the transformative potential of live theatre. This production captivates as it builds toward its inevitable heartbreak, leaving the audience both devastated and deeply satisfied. It’s a reminder that, sometimes, “paradise” is just out of reach—but the beauty lies in the journey.