Plays, 1957-1980

DNF at about 60%.

There is just too much Williams. I'm not a die-hard fan. I truly enjoy the older works of Williams that have been successfully adapted to films, especially those from his golden age. The stories and characters in those plays were so vivid and engaging. However, his later plays seem to lack the same charm and quality. They don't have the same impact and depth as the earlier ones. It's a bit disappointing. Maybe he was trying new things or facing different challenges, but for me, the magic just wasn't there anymore. I found myself losing interest as I got further into the later plays. It's a pity, as his earlier works were really something special.

My first encounter with Tennessee Williams was when I saw "Cat on a Hot Tin Roof" as a child, and my love for his plays has endured well into adulthood. Recently, I undertook the task of reading all of his collected plays (two volumes), and I came to the realization that a lifetime of experiences has altered my perspective.

"Not about Nightingales" showcases Williams as being ahead of his time in uncovering the atrocities of prison life. However, many of his plays disclose a misogyny that was either a reflection of the era, his personal views, or perhaps both. For a different critique of "A Streetcar Named Desire" that strays from the typical platitudes, I suggest Kathleen Lant's essay (not very imaginatively titled) "A Streetcar Named Misogyny." https://ontheroad29.wikispaces.com/fi...

I found this reading to be an extremely depressing one. Nevertheless, my admiration for Williams' indubitable talent persists. My thoughts regarding his works will be forever influenced by reading these plays consecutively, where the pitiful and tragic female characters are continuously paraded.

I have truly relished Tennessee Williams' plays.

In most of his works, he is capable of achieving a rather excellent balance among the absurd, the tragic, the evil, and the good.

"Out Cry" was perhaps my absolute favorite among the lot. There was simply something about it that rendered it extremely captivating.

I can clearly understand why he is so extensively studied in schools.

His plays offer a profound exploration of the human condition, delving into the complex emotions and experiences that shape our lives.

The vivid characters and engaging storylines draw the audience in and keep them hooked until the very end.

Tennessee Williams' unique writing style and his ability to create powerful and memorable works make him a significant figure in the world of literature and drama.

Studying his plays not only enriches our understanding of the art form but also provides valuable insights into the human psyche and the society we live in.

Tennessee Williams In The Library Of America -- 2

In 2000, the Library of America published two volumes of Tennessee Williams' plays, edited by scholars Mel Gussow and Kenneth Holditch. The second volume, which I'm reviewing here, contains 13 plays from 1957 - 1980 and an excellent chronology of Williams' life. John Lahr's biography inspired me to reread Williams, both familiar and unfamiliar works. Lahr provides great insights into his life, work, and many plays in this volume.

Williams was a romantic and autobiographical writer. His works are lyrical, poetical, and often florid, exploring themes like loneliness, wildness, nonconformity, and the tension between sensuality and repression. To succeed, he had to project his own experiences. At his best, he universalized his inner life and spoke to the human condition. During and after his lifetime, his works were criticized for lurid sexuality and violence. Most of his plays are set in the South, especially Mississippi or New Orleans.

The works in this volume can be roughly divided into two groups. The first group, from 1957 - 1961, is in the broad, naturalistically romantic voice for which he's best known. It includes plays like "Orpheus Descending", "Suddenly Last Summer", "Sweet Bird of Youth", "The Night of the Iguana", and the comedy "Period of Adjustment". "The Eccentricities of a Nightingale", a rewrite of "Summer and Smoke", also belongs here.

The second group consists of plays from his long decline. This includes "The Milk Train Doesn't Stop Here Anymore", "The Mutilated", "Kingdom of Earth", "Small Craft Warnings", "Out Cry", "Vieux Carre", and "A Lovely Sunday for Creve Coeur". I want to discuss this group briefly as it was mostly unfamiliar to me, except for "Creve Coeur". This group is still controversial and neglected.
The poor reception of his later work is often attributed to substance and alcohol abuse, creative burnout, a change in public standards, and a change in literary styles. However, these factors overlook some strengths. Most of these plays are in a minimalist, experimental style influenced by Beckett or Ionesco, making them difficult to read and act. But Williams' themes of loneliness, sexuality, and the tension between flesh and spirit remain.
Some of the late plays have been revived, especially around the 2011 centennial of Williams' birth. "Milk Train" was revived in 2011 with Olympia Dukakis. "Out Cry" has had several recent performances. "Small Craft Warnings", "Vieux Carre", and "Creve Coeur" have also been performed, as well as the neglected short play "The Mutilated". Reading these late plays increased my understanding and appreciation of Williams.
In a discussion of the late plays, Charles Isherwood wrote that they belie the simplistic view of a decline in Williams' talent. The later plays are less accessible but still have his unmistakable voice. It's moving to see his determination to pursue his own artistic path.
I enjoyed rereading Williams in this volume, with the insights from Lahr's biography. I've reviewed each play in more detail in individual editions. The Library of America deserves praise for its commitment to American literature and making Williams' best works accessible to readers.

Robin Friedman

The second and final volume of “The Collected Plays of Tennessee Williams” from Library of America presents a rather mixed bag, much like its predecessor.

Tennessee Williams' creative spark seemed to have dimmed somewhat in the latter part of his career. However, this volume still contains several outstanding plays.

“Suddenly, Last Summer,” “Sweet Bird of Youth,” and “The Night of the Iguana” are among the gems. Even the lesser-known works such as “The Eccentricities of a Nightingale” and “The Milk Train Doesn’t Stop Here Anymore” possess remarkable qualities.

Revisiting Williams' plays is always a source of great pleasure. Working through these volumes has been a truly enjoyable experience, allowing one to appreciate the breadth and depth of his talent, despite the fluctuations in his career.

It is a testament to his enduring significance in the world of theater that his works continue to captivate audiences and scholars alike.

Each play offers unique insights into the human condition, exploring themes of love, desire, loss, and the search for meaning.

Whether it is the intense psychological dramas or the poetic language, Tennessee Williams' plays have left an indelible mark on the history of American theater.

Tennessee Williams In The Library of America -- 2

In 2000, the Library of America published two volumes of Tennessee Williams' plays, edited by scholars Mel Gussow and Kenneth Holditch. The second volume, which I'm reviewing here, contains 13 plays written between 1957 and 1980, along with an excellent chronology of Williams' life. John Lahr's new biography inspired me to reread Williams, both familiar and unfamiliar works. Lahr provides valuable insights into Williams' life and work, including many of the plays in this volume.

Williams was a romantic and autobiographical writer. His works are lyrical, poetical, and often florid, exploring themes of loneliness, wildness, nonconformity, and the tension between sensuality and repression. To succeed, a romantic writer must project his own experiences. At his best, Williams universalized his inner life and spoke to the human condition. However, his works were criticized for their lurid sexuality and violence. Most of his plays are set in the South, especially Mississippi or New Orleans.

The plays in this volume can be roughly divided into two groups. The first group, written between 1957 and 1961, is in the broad, naturalistically romantic voice for which Williams is best known. It includes plays like "Orpheus Descending", "Suddenly Last Summer", "Sweet Bird of Youth", and "The Night of the Iguana", as well as the comedy "Period of Adjustment". "The Eccentricities of a Nightingale", a rewrite of "Summer and Smoke", also belongs to this group.
The second group consists of plays from Williams' decline period. These include "The Milk Train Doesn't Stop Here Anymore", "The Mutilated", "Kingdom of Earth", "Small Craft Warnings", "Out Cry", "Vieux Carre", and "A Lovely Sunday for Creve Coeur". I want to discuss this group briefly as it was unfamiliar to me, except for "Creve Coeur". This group is still controversial and neglected.
The poor reception of the later work is often attributed to various factors, such as Williams' substance and alcohol abuse, creative burnout, a change in public standards, and a change in literary styles. While these factors are important, they overlook some of the strengths of his later works. Most of these plays are in a minimalist, experimental style influenced by Beckett or Ionesco, making them difficult to read and act. However, Williams' themes of loneliness, sexuality, and the tension between flesh and spirit remain.
Some of the late plays have survived their initial rejection and have been revived, especially in connection with the 2011 centennial of Williams' birth. "Milk Train", which straddles his mature and late works, was revived in 2011 with Olympia Dukakis. "Out Cry", the most difficult play in this collection, has had several recent performances. "Small Craft Warnings", "Vieux Carre", and "Creve Coeur", which return in part to his earlier years, have also been performed. Additionally, the neglected short play "The Mutilated" had a well-received off-Broadway production. Reading these late plays increased my understanding and appreciation of Williams and his work.
In a discussion of the late plays, Charles Isherwood of the New York Times wrote that they belie the simplistic view of a decline in Williams' talent. While the later plays are less accessible than those of his artistic prime, they are stamped with his unmistakable voice. It is moving to see how Williams pursued his own artistic path, even when few were interested in his new, often weird and fantastic work.
I enjoyed revisiting Williams in this Library of America volume, with the insights gained from Lahr's biography and elsewhere. I have examined each play in more detail in the individual editions. The Library of America deserves high praise for its commitment to American literature and for making the best of Tennessee Williams available to readers.

Robin Friedman

Stunning plays by one of the greatest authors to come out of the American South. This author has crafted a body of work that is truly remarkable. Each play is a masterpiece, filled with rich characters, engaging storylines, and powerful themes.

The plays transport the audience to the heart of the American South, with its unique culture, traditions, and history. The author's use of language is vivid and evocative, painting a picture of a region that is both beautiful and complex.

From the tragic tales of love and loss to the comical misadventures of everyday life, these plays have something for everyone. They are a testament to the author's talent and creativity, and a must-see for anyone interested in the art of theater.

For the OLLI Class, we have selected some plays to read. One of them is "Suddenly Last Summer". This play delves into complex themes such as love, loss, and the human psyche. It takes the audience on a journey through the minds and emotions of its characters, leaving them with a profound sense of understanding and reflection.

The other play is "Period of Adjustment". Set in a particular time period, it explores the challenges and changes that individuals face as they try to adapt to new circumstances. The story is filled with relatable characters and situations that make it both engaging and thought-provoking.

By reading these plays, students in the OLLI Class will have the opportunity to immerse themselves in different worlds and gain a deeper appreciation for the art of drama. They will be able to analyze the characters, themes, and plotlines, and discuss their interpretations with their classmates. This will not only enhance their understanding of the plays but also improve their critical thinking and communication skills.