In his production notes, Williams says, "Being a 'memory play', The Glass Menagerie can be presented with unusual freedom of convention.
It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart.
The 1970s works of Harold Pinter, including Landscape, Silence, A Kind of Alaska, Betrayal and Old Times have been described by Michael Billington and others as memory plays.
[6] In Friel's Dancing at Lughnasa, "a memory play focusing on the five unmarried Mundy sisters who struggle to maintain the family home ...
The memory controlling the play's shape and substance belongs to Michael, the 'love child' of Chris, youngest of the sisters.
"[7][8] Critic Irving Wardle has argued that Friel invented the modern memory play, citing Philadelphia, Here I Come!