Photo.  Courtesy of  Bear & Co.  Cory Thibert  and Sarah Waisvisz

he 1930s were an era that quaked in the wake of the Great Depression. Americans had barely emerged from the horror that was the First World War before plummeting into financial ruin. Tennessee Williams, in his contemporary masterpiece The Glass Menagerie, captures in minute detail the heart of one working-class family who symbolize the convergence of history, family, and place—a trifecta that barres them from exacting any agency of their own.

Director Eleanor Crowder offers the audience a production that captures the listless, hopeless, and desperate spirit of Williams’ play, and emphasizes Tom Wingfield as the driving agent of this drama.

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Photo. Andrew Alexander

The world premiere of The Boy in the Moon is playing now at the GCTC theatre. Directed by Eric Coates, this is the stage adaptation of Canadian journalist Ian Brown’s well-known memoir, The Boy in the Moon. Playwright Emil Sher has adapted the memoir, which chronicles Brown’s experience raising a son, Walker, who was born with a rare, genetic condition that renders him mentally delayed, non-verbal, and physically handicapped. It is first and foremost a touching story, and Sher’s theatrical adaptation picks up on bold questions about the value of their son’s life, and the ever-present questions the Browns have about the nature of Walker’s inner-world.  The question of Walker’s “inner-world” is a thread that Sher weaves throughout the script. The story is told by the characters of Ian and Johanna on stage, played by Peter James Haworth and Manon St. Jules, respectively. Sher uses Brown’s book as a point of departure, and bolsters the script through interviews conducted with Ian and Johanna.

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