Joy, heartbreak, laughter — The Glass Menagerie is a rollercoaster of emotions and a real winner for State Theatre Company South Australia
Presented by: State Theatre Company South Australia
Reviewed: 19 November, 2025
For their final main-stage production of 2025, State Theatre Company South Australia gives us The Glass Menagerie. This brilliant new staging of this classic text is bold, powerful and thought provoking.
The Glass Menagerie, written by Tennessee Williams, first premiered in 1944, shooting Williams to fame. Written as a memory play (narration driven by one of the characters), it has several autobiographical elements from Williams’ life. Set in St Louis, The Glass Menagerie is narrated by Tom Wingfield, who tells the audience about his life with his overprotective mother Amanda and his reclusive and fragile sister Laura. When a gentleman caller is invited to dinner, we learn about Amanda’s alternative motives to the visit.
Shannon Rush’s direction is pure magic. Rush’s keen eye for detail has made sure every word is carefully placed, every look enhances a character’s story arc and every small gesture adds to the incredible script. Her impeccable direction has moulded this production into a well oiled machine that simmers along at the perfect pace. The Glass Menagerie is rather a wordy play, but Rush’s direction has kept this production light and moving so every word lands with a punch.
The Glass Menagerie is a true ensemble piece. The cast of four are exceptional. Even when in the background of a scene, their looks and mannerisms are powerful and captivating. Jono Darby plays Jim O’Connor, the mystery guest who comes to dinner, with great suave and persona. Although only in a few scenes in Act 2, Darby’s role is pivotal to the plot of the play and his acting leaves a lasting impact.
As Amanda Wingfield, Ksenja Logos is excellent. She walks the line of over-protective mother and strong independent woman perfectly. Logos’ command of the stage is captivating, and her connection to each cast member is believable, from caring motherly moments to the overly hospitable host, Logos is wonderful.
Kathryn (Kitty) Adams as Laura Wingfield is exceptional. Adams brings so much depth to this role and tackles the physical and mental ailments of the character with care and respect. She gave a performance that was painfully believable in its vulnerability.
There are not enough adjectives to describe just how incredible Laurence Boxhall’s performance was as Tom Wingfield. Switching seamlessly from narrator to in-scene acting, Boxhall’s command of the stage is captivating. Boxhall pours so much light and shade into this role giving it fathoms of depth and breadth.
Mark Thompson’s set and costume design is top notch. The multi-leveled set works brilliantly in the open space of the Odeon Theatre and the costuming is perfectly suited to each character. Gavin Norris’s lighting design is subtle and unobtrusive. Special mention must go to the lighting design to create the effect of sunlight streaming in through windows.
Jamie Hornsby’s score, supported by Andrew Howard’s sound design, is exquisite. Music is such a powerful tool when used correctly, and Hornsby’s work is spot on. I found myself reacting to the various emotional moments on the stage and it wasn’t till afterwards when I realized just how much the score was enhancing these moments in a subtle but powerful way.
The Glass Menagerie is a real winner for State Theatre. You share the joy, heartbreak and anger with the cast in this emotional production. Running until 7th December, this is must-see theatre at its finest.
Reviewed by Ben Stefanoff
Photo credit: Matt Byrne
Venue: The Odeon Theatre, Norwood
Season: Until 7 December
Duration: 2 hours and 10 minutes (including intermission)
Tickets: From $81 (plus booking fees)
Bookings: https://statetheatrecompany.com.au/shows/the-glass-menagerie/
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