Zachary Quinto, Jane Lynch, Ellen DeGeneres, and Andy Cohen appeared in an amusing mock PSA at the end of the previously-mentioned Wednesday night Daily Show segment on voter suppression.Enjoy, AFTER THE JUMP...
Zachary Quinto Hub
BY NAVEEN KUMAR
Director John Tiffany’s stylish and superbly acted revival of The Glass Menagerie opened on Broadway last week at the Booth Theatre. Arriving on Broadway after a critically acclaimed run at the American Repertory Theatre in Cambridge, the production is at once faithful to Tennessee Williams’ specific ideas about how the play ought to be performed, and unmistakably revelatory.
The 1944 work that launched Williams’ career is a not so thinly veiled autobiographical account with parallels to his own family life, which the writer deems a ‘memory play.’ Tom (played here by Zachary Quinto) acts as narrator, looking back on memories of his somewhat delusional and heartily overbearing mother Amanda (Cherry Jones), and physically impaired, isolated sister Laura (Celia Keenan-Bolger).
Cooped up together in a middle-class tenement of St. Louis during the height of the Great Depression, the Wingfield family inches by on Tom’s warehouse salary, their father having left when the children were young. Amanda’s nostalgia for her glory days as a Southern belle blends with her aspirations for her daughter Laura, so painfully shy that her prospects for finding either a job or a husband to support her seem dire.
In his production notes for the play, Williams writes: “Expressionism and all other unconventional techniques in drama have only one valid aim, and that is a closer approach to truth.” Tiffany’s use of stylized movement and other carefully conceived ‘unconventional’ elements is both imaginative and precise. Taken together, the overall effect is an evocation of memories so far removed and yet immediate that the play feels like a vivid dream—with emotional truth never far from the surface.
With a softly lilting Southern cadence, Quinto brings out the poetry in Williams’ language to captivating effect. As a son (and grown man) looking back on loved ones he left behind and alternately reliving his past, Quinto registers a rich spectrum of regret, restlessness, filial affection, and an unspoken, deeply disguised longing. A frustrated poet widely accepted as a stand-in for Williams, Tom's buried desire is often interpreted as homosexual, as it is quite subtly here.
With her performance as Amanda, Ms. Jones demonstrates why she is rightfully among the most celebrated stage actors of her (or really, anyone’s) generation. By turns tender and smothering, pragmatic and delusional, and garrulous without turning shrill—her Amanda quite viscerally inspires the same complex gambit of emotions with which anyone who has a mother is familiar.
Amanda’s assessment of her daughter, that “still water runs deep,” may never have seemed more true. Ms. Keenan-Bolger’s careful, heartfelt performance as Laura hints at the elaborate emotional turmoil swirling underneath her surface stillness. It’s a metaphor that encompasses Tiffany’s production, itself set on a small collection of rooms surrounded by dark waters—a family marooned.
Brian J. Smith is likewise excellent as Jim, the long awaited Gentleman Caller. In the hands of Smith and Keenan-Bolger, the oft-rehearsed courtship between Jim and Laura feels fresh and alive, with an enchanting chemistry that makes the play’s conclusion that much more moving.
Joining Tiffany is the creative team with whom he also collaborated on the Tony Award winning musical Once (with many taking home individual awards), including movement director Steven Hoggett, designers Natasha Katz (lighting), Clive Goodwin (sound), and Bob Crowley (scenic and costume). Together with a supremely talented company, they deliver a haunting and extraordinary revival that’s sure to become a benchmark for future productions.
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Follow Naveen Kumar on Twitter: @Mr_NaveenKumar (photos: michael j. lutch)
The revival of Tennessee Williams play The Glass Menagerie starts previews tonight on Broadway, and Zachary Quinto, who plays Tom Wingfield in the play, has been Instagram-ing a few backstage photos of himself with the cast, Cherry Jones, and Celia Keenan-Bolger.
Wrote Quinto of the above photo: "face to face with tom and laura. @celiakb @menageriebwy". And of the one below: "last time for empty seats. @menageriebwy"
Actors Jonathan Groff and Zachary Quinto have split up, according to Gossip Cop:
On Wednesday, a Perez Hilton “source” reported that things did “not end well” between Quinto and Groff, and that their split was “far from amiable.”
That characterization is not true, Gossip Cop can report. A source close to the situation assures us that “they remain friends,” and there is “nothing salacious” to the story.
Zachary Quinto appeared on The View yesterday and demonstrated that years of practice facing Barbara Walters prepared him to be able to charm the pants off her.
"I used to set up a video camera, and I would put a light on myself, and I would ask myself questions in my head, not out loud, like 'what was your biggest fear getting you to this moment in your life and career?'. But I wouldn't say it out loud. I would only say it to myself and then I would answer it out loud to the video camera, as if you were on the other side of the camera..."
Watch, AFTER THE JUMP...
Zachary Quinto stopped by Late Night with Jimmy Fallon yesterday and took questions from Tumblr users. Asked what actor, dead or alive, he’d love to work with, Zachary answered,
“You mean work with them like being in something with them or like build a house? Like work with them as an actor? I would like to build a house with Oprah who is not necessarily, like, an actor first, but she’s actually an amazing actor. She’s got a new movie coming out as well. And I’d like to be in a movie with Meryl Streep because, right, like, right? I’m sticking by it.”
Check out as he gives his best “Pittsburghese” accent and reveals what qualities he shares with Spock, his spirit animal, the #1 item on his bucket list, and whether his “killer eyebrows” are a blessing or a curse, AFTER THE JUMP...