Introducing Cat on a Hot Tin Roof as “a thinking play,” Tennessee Williams wrote to his audiences: “I want to go on talking to you…
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Tag: Tennessee Williams
THE GLASS MENAGERIE (Arden): Revisiting the famed memory play
Tennessee Williams had been writing since he was a teenager, and by the time he was 30 years old he was getting nowhere. His early…
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Watching THE TWO-CHARACTER PLAY (OUT-CRY) by Tennessee Williams
This play-within-a-play about a play takes place on the Bluver Theatre’s tiny stage, brightly lit, although called dim by the characters. The audience, up close…
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TWO-CHARACTER PLAY (IRC): 2022 Fringe review
Nobody writes crazy, despairing, desperate women like Tennessee Williams
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Pulitzer Podcast Review: STREETCAR NAMED DESIRE at the Arden
Chosen by Committee podcasters Josh Herren and Christopher Munden tear themselves from the Pulitzer bookcase to see a live Pulitzer-winning show.
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Cat On A Hot Tin Roof by Tennessee Williams (1955): Chosen by Committee Episode 33
In 1955, playwright Tennessee Williams won his second Pulitzer Prize for Drama for Cat on a Hot Tin Roof.
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A Streetcar Named Desire by Tennessee Williams (1948): Chosen by Committee episode 27
You may have of this one.
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ECCENTRICITIES OF A NIGHTINGALE (Idiopathic Ridiculopathy Consortium): 2018 Fringe review (2nd)
Another review of IRC’s 2018 Fringe piece.
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ECCENTRICITIES and random notes on Tennessee Williams
Tennessee Williams slept with my boyfriend’s father. I love saying that at a party.
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ECCENTRICITIES OF A NIGHTINGALE (Idiopathic Ridiculopathy Consortium): 2018 Fringe review
ECCENTRICITIES is lush, loquacious and very typical Tennessee Williams: lonely, sex-starved women, men struggling against overbearing mothers, desperation everywhere.
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Kaepernick on a Hot Tin Roof? Did self-censorship constrain Tennessee Williams?
Six decades separate the Broadway debut of Tennessee Williams’ CAT ON A HOT TIN ROOF in 1955 from Colin Kaepernick’s boycott of the National Anthem
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A STREETCAR NAMED DESIRE (Deep Blue Theatre Collective): 2016 Fringe review 20.2
Upon entering the MAAS Space, with it’s exposed beams and brick walls, and wooden floors, the very sensation of being engulfed in 1940s New Orleans…
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Hearing voices at 3 AM: Interview with POST HASTE playwright Frank E. Reilly
Frank E. Reilly’s latest play, POST HASTE, just finished its world premiere run at the Hedgerow Theatre. Henrik Eger interviewed the playwright about his works.
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[book review] FOLLIES OF GOD (James Grissom): Validating Tennessee Williams
“The greatness of . . . people lies in how they got from their squalor—real or perceived—and became artists.”
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STAIRS TO THE ROOF (EgoPo and Rowan): An absurdist take on a fledgling work by Tennessee Williams
This is Tennessee Williams as you’ve never seen him, filled with youthful ardor, idealism, and scorn, and well suited for showcasing a young ensemble of emerging talents.
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IRC’s presents some Durang classics
Featuring spoofs of American theater luminaries, IRC’s 2008 hit A STREETCAR NAMED DURANG returns this month for a brief seven-show run.
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THE GLASS MENAGERIE (Commonwealth Classic): Through the glass darkly
Commonwealth’s production draws the curtain on enough of the play’s window into regret to reveal the melancholy brilliance of THE GLASS MENAGERIE.
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[27] AND TELL SAD STORIES OF THE DEATHS OF QUEENS (Blue Suede Productions): Fringe review
Two young guys who moved here from Tennessee in 2012 started their own theater company, which they named Blue Suede Productions as a tribute to…
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Another take on GLASS: SHATTERED (Renegade)
Pacified by a pre-show serving of *Little Baby’s* ice cream, the Renegade Company’s audience sat in a cozy room with broken victrola records scattered on…
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GLASS: SHATTERED (Renegade): 60-second review
Tennessee Williams’s The Glass Menagerie is described as a “memory play”: its plot an extended flashback, its theatrical pretense laid bare. GLASS: SHATTERED, Michael Durkin’s…
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