Tennessee Williams invented a new kind of theatre with The Glass Menagerie. It introduced the first in a line of legendary Williams women – towering dreamers fighting for their lives – and its formal inventiveness paved the way for the great American dream plays like Death of a Salesman and Angels in America. It is also a scathing self-portrait of the young Tennessee: homosexual, poet, liar, truth-teller.

Amanda Wingfield is a single mother. Her son Tom works in a warehouse, her daughter Laura is studying to become a secretary. The three of them live in a small apartment pent up with fantasies and urges and rage and wounded tenderness. It is not a magnificent existence, but each of them has one true idea for a better life. Enter the Gentleman Caller…

Eamon Flack directs Luke Mullins (Angels in America) and the great Pamela Rabe.


Harry Greenwood
Luke Mullins

Pamela Rabe
Rose Riley


By Tennessee Williams
Director Eamon Flack
Set Designer Michael Hankin
Costume Designer Mel Page
Lighting Designer Damien Cooper
Composer & Sound Designer Stefan Gregory
Video Design Consultant Sean Bacon
American Dialect Coach Paige Walker-Carlton
Assistant Director Jada Alberts
Assistant Set Designer Georgia Hopkins
Stage Managers Isabella Kerdijk, Luke McGettigan
Assistant Stage Manager Katie Hankin
Production Secondment Fraser Orford



A compassionate and illuminating production that throws fresh light into corners of a play that can go unexplored or unnoticed. You shouldn’t miss it.

Jason Blake | The Sydney Morning Herald

Belvoir’s Glass Menagerie is achingly beautiful. It is the visible alleys and laneways of love and regret. It is faultless. The finest production of the year.

Cassie Tongue | Aussie Theatre

…it’s a triumph.

Dee Jefferson | Time Out

…this production is a thing of rare, fragile and transparent beauty.

Ben Neutze | Daily Review

As Flack guides us so movingly through the turmoil of this wonderful play we are also reminded of how brilliantly Williams leads us, in his lyrical script, through his own journey. Tom’s great final speech, in which he finally says goodbye to the stultifying oppression of his youth, is beautifully done. The final moment is breathtaking.

John McCallum | The Australian

A thrilling production that feels painfully real.

Jo Liston | The Sunday Telegraph