The Glass Menagerie (edit title)

Shelfari edited the description of The Glass Menagerie Saturday, August 1 2009.

• No play in the modern theatre has so captured the imagination and heart of the American public as Tennessee Williams's The Glass Menagerie. Menagerie was Williams's first popular success and launched the brilliant, if somewhat controversial, career of our pre-eminent lyric playwright. Since its premiere in Chicago in 1944, with the legendary Laurette Taylor in the role of Amanda, the play has been the bravura piece for great actresses from Jessica Tandy to Joanne Woodward, and is studied and performed in classrooms and theatres around the world. The Glass Menagerie (in the reading text the author preferred) is now available only in its New Directions Paperbook edition. A new introduction by prominent Williams scholar Robert Bray, editor of The Tennessee Williams Annual Review, reappraises the play more than half a century after it won the New York Drama Critics Circle Award: "More than fifty years after telling his story of a family whose lives form a triangle of quiet desperation, Williams's mellifluous voice still resonates deeply and universally." This edition of The Glass Menagerie also includes Williams's essay on the impact of sudden fame on a struggling writer, "The Catastrophe of Success," as well as a short section of Williams's own "Production Notes." The cover features the classic line drawing by Alvin Lustig, originally done for the 1949 New Directions edition.

SurrenderDorothy k edited the quotations of The Glass Menagerie Wednesday, July 22 2009.

• Added a quotation: “I'm going to opium dens! Yes, mother. Opium dens. Dens of vice and criminal's hangouts, mother, I am a hired assassin, I joined the Hogan gang, I carry a tommy gun in a violin case! I run a stream of cat houses in the valley! they call me Killer, Killer Wingfield, see I'm leading a double life, really, a simple honest warehouse worker by day, by night a dynamic czar of the underworld, mother, I just go to gambling casinos, spin away fortune on the roulette tables, mother, I wear a patch over one eye, and a false mustache, sometimes I put on green whiskers, on, on those occasions, they call me-El Diablo! Oh, I could tell you many things to make you sleepless! mother, My enemies plan to dynamite this place. they're gonna blow us all sky high! I'll be glad,very happy, and so will you! You'll go up, up, over Blue Mountain, on a broomstick with seventeen gentleman callers! You ugly, babbling old witch...”

SurrenderDorothy k edited the quotations of The Glass Menagerie Wednesday, July 22 2009.

• Added a quotation: “Yes, I have tricks up my pocket, I have things up my sleeve. But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion.”

Shelfari edited the contributors of The Glass Menagerie Tuesday, July 21 2009.

• reordered the contributors.
• 1 : Tennessee Williams:

Peiyu W edited the quotations of The Glass Menagerie Monday, July 20 2009.

• Added a quotation: “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”
• Added a quotation: “I am the narrator of the play, and also a character in it”
• Added a quotation: “I'd rather somebody picked up a crowbar and battered out my brains-than go back mornings”

Shelfari edited the contributors of The Glass Menagerie Monday, July 20 2009.

• Added a contributor: Tennessee Williams: (Primary Author)

Shelfari edited the first sentence of The Glass Menagerie Friday, July 17 2009.

• 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 centres 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.