Tennessee Williams' semi-autobiographical play deals with the emotional tensions between a mother and her two children.

After years of raising her family on her own, Amanda escapes the hardships of present-day life by dreaming of her younger days as a southern belle and trying to relive them.

Mary Matson, in the role, has a very difficult part to play. She needs to find the right balance between the monstrousness of Amanda's obsessive behaviour and her fragility.

She often found that balance but there were times when it slipped.

Williams described this work as a "memory play" with the son Tom stepping in and out of the action to act also as the narrator.

The memory aspect of the play is emphasised by the use of haunting music and sound effects, with lighting that fades in and out or with spotlights.

While this worked on most occasions, I sometimes felt it unnecessary and intrusive. Perhaps the Director, Carl Boardman, was tied down by precise stage directions in the text.

Lauren Heinrich's portrayal of Laura showed an extraordinary talent. The shyness and gaucheness of her character was beautifully drawn.

At one point, a slow, radiant smile emerged after she had been kissed only for it to disintegrate into broken-heartedness as her hopes were dashed.

This was the climax to a particularly fine scene played between her and the Gentleman Caller.

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Words by Barrie Jerram, features@theargus.co.uk