The character of Tom is played by two actors: Paul Hilton is the elder reflective brother who acts as a narrator and haunts the set as the others act, even when it is scenes he cannot remember because he wasn’t there.  The younger Tom here about 30 (Tom Glynn-Carney) opens with furious contempt for his mother but never really seems to show Tennessee Williams’s attachment to his sister. 

It is Laura’s decision not to attend the typewriting classes her mother has paid for which makes Amanda resort to the only hope for her future being marriage.  The first act is depressing as we see the gulf between Amanda’s hopes for Laura and Laura’s childlike existence. 

The second act hits a disturbing note as the audience choose to laugh at Laura’s awkward disability as she walks jerkily across the stage, physically disabled as well as in the spectrum.  News of a real gentleman caller provided by Tom from the warehouse where he works, has Amanda in elaborate preparations clean the windows, get out the silver.  Part of these are to dress Laura in a above the knee minidress which just looks out of era and stupid.  The addition of a pair of “gay deceivers” which we call “chicken fillets” is deservedly laughable but too much else should be poignant not cruel comedy. 

Amanda flounces in wearing one of her Cinderella ball gowns and understandably the audience laugh at her flirtation.  Laura shrinks from greeting the man invited to tea, Jim O’Connor (Victor Alli) but their conversation is hopeful although we know, if it seems to be too good to be true, it probably isn’t. 

Lizzie Annis gives an unsentimental performance as gawky Laura and Victor Alli is charming if deceptive as Jim.  Paul Hilton’s skulking around the set is creepy at times.  I didn’t warm to Tom Glynn-Carney’s Tom and Amy Adams is disappointing as Amanda.  The video images are distracting rather than enhancing.   This great play deserves a batter production.  See Jessica Lange as Amanda Wingfield in 2007.