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Cornelius, like the character of Tom and Laura’s father, was restless, alcoholic, and abusive. The family moved into a small house, not nearly as squalid as the tenement apartment the Wingfields occupy onstage, but the tension between Williams’ parents made the atmosphere even more explosive. When Edwina Williams, Tennessee’s mother, became pregnant with her third child, Dakin, Cornelius accepted an office job at International Shoe’s St. The records were gifts from Cornelius Williams, their itinerant father, who was, like Laura and Tom’s father in Menagerie, a traveling salesman. Nine-year-old Rose and seven-year-old Tom danced in the living room to music playing on the Victrola.
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Prior to that, Rose and Tom lived “agreeable children’s lives under garden hoses in the hot summer,” according to Williams’s 1975 Memoirs. The Williams family moved from Clarksdale, Mississippi, to St. “To escape from a trap,” Williams wrote in Menagerie’s production notes about Tom Wingfield, “he has to act without pity.” During that time, Rose descended into violent insanity. The play depicts real events, up to a point years before he wrote Menagerie, now in a successful run on Broadway, Williams left home to pursue his own writing ambitions. Williams based Tom Wingfield, Laura’s brother, on himself. Rose is the basis for Laura Wingfield, the withdrawn high school dropout who passes her days listening to old phonograph records and caring for her collection of glass animals while the world closes in around her. Some memory of Rose Williams underpins all of Tennessee Williams’s plays, but it was with the 1944 premiere of The Glass Menagerie that he both immortalized his sister and launched his Broadway career.
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Celia Keenan-Bolger as Laura Wingfield in the current revival of The Glass Menagerie.