The Whole of Time, an intimate reimagining of Tennessee Williams' The Glass Menagerie, has extended its intimate engagement. Staged inside a private New York townhouse, the production will now play through February 11.
Produced by Joben Productions, the U.S. premiere is presented to an audience of 22 people nightly. The production began performances December 28, and officially opened January 7. The private venue is located inside the former Chelsea townhouse of acclaimed actors Rip Torn and Geraldine Page, with direction by their son, Tony Torn.
Written by Argentinian playwright Romina Paula in a translation by Jean Graham-Jones, The Whole of Time probes the connection between home and exile by spinning Williams' classic in a new direction, exposing the family's fragile private life to the harsh light of day.
The New York production stars Josefina Scaro, Lucas Salvagno, Ana B. Gabriel, and Ben Becher. Tickets are offered on a pay-what-you-wish basis.
“Having grown up knowing The Glass Menagerie so well, I’m fascinated not only by the similarities between the two plays but what sets them apart,” said Torn in a previous statement. “In The Whole of Time, the sister is not a victim but someone who is isolated from the world because she prefers it that way. In today’s world, with so many people making similar choices to isolate themselves, Romina’s play is more current than ever. The balance of power within the family she has created is very, very different, which I find exhilarating. And when you consider the unique history my parents had with the work of Tennessee Williams and the fact that we’re performing the play in their home—it’s very special, and I can’t wait to share that experience with audiences.”
The creative team for The Whole of Time includes direction, set, and video design by Torn, scenic backdrops by Donald Gallagher, lighting design by Jay Ryan, and stage management by Berit Johnson.
The Whole of Time was developed in association with the performance collective *Necessary Digression, in collaboration with The Martin E. Segal Center for Theatre Research.
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